WORK

You are looking at sculptural forms constructed through the slow accumulation of small, modular units. Each work is built piece by piece, thousands of repeated parts woven or bound together into porous, net-like structures. The surfaces are latticed, open, and permeable, allowing air and light to move freely through them.

The forms often take the shape of suspended nets or vessels, anchored in tension between walls, hovering just above the ground, or resting directly on it. They are usually caught between gestures — never fixed, but always leaning toward another state. They hold their structure through rope, knots, and joinery, creating objects that appear both fragile and resilient. Their scale shifts between intimate, body-sized pieces and larger architectural spans that invite the viewer to move around or through them.

Materials vary between wood, cord, and photographic imagery, but they are consistently worked by hand into repeating patterns. The structures reference basketry, weaving, and craft traditions while borrowing visual language from architectural elements like breeze blocks or scaffolding. At times, photographic surfaces are embedded into the work, merging image with structure so that a net or screen becomes both sculptural form and photographic support.

What you are looking at is not a closed object but an open system — a structure defined as much by absence as by presence. Emptiness is given shape, functioning as a container for memory, light, or passage. The forms suggest vessels, screens, or skeletal remains: objects that are at once protective and permeable, durable and provisional.

These works aim to live in the space between categories — between handmade and machine-made, sculpture and photograph, ruin and repair. They prescribe a logic of infinite construction, continuously unmade and rebuilt, holding the ambiguity of structures that never fully resolve.

2026