The work originates in early experiences where drawing functioned as a private system of control and interpretation. Line and form were not simply descriptive tools, but a means of reframing what could not be directly confronted.
Over time, the practice expanded across media, moving through painting, sculpture, photography, and design. This expansion was not driven by range, but by the need to construct a visual language capable of holding more complex relationships between image, memory, and structure. Studying at Alberta University of the Arts contributed to this development, situating the work within a broader critical and historical context without resolving its underlying concerns.
The current work returns to drawing and painting as primary forms. This return is not nostalgic. It reflects a need for directness, where mark-making operates simultaneously as image, record, and residue.
A recent encounter with mortality has intensified this position. Time is no longer treated as an abstract condition, but as an active constraint. The work is built with an awareness of limits, where each decision carries weight and cannot be deferred.
What remains is a practice shaped by accumulation rather than resolution, where personal history is neither illustrated nor explained, but embedded within the structure of the work itself.
