My practice unfolds at the intersection of photography, textiles, and site-specific strategies. I approach memory not simply as a record of the past, but as a living, unstable structure that manifests across the body, image, material, and architectural space. In my work, I return to what is fragile, barely perceptible, and seemingly peripheral: the trace, residue, discoloration, and afterimage, as well as the tension between presence and disappearance. I seek forms through which memory resists closure, emerging instead as an ongoing process of revelation, displacement, and transformation.

Many of my projects are grounded in a reflection on postmemory, inheritance, and identity. I am particularly concerned with what is transmitted between generations beyond narrative—through gestures, affects, silences, and images. I conceive of memory as a layered and unstable matter, marked by fractures, absences, and shifts, which cannot be fully grasped or definitively read. For this reason, I do not attempt to impose a fixed order upon it; rather, I am interested in creating conditions in which it may resonate anew—through light, surface structure, touch, the repetition of gesture, and the presence of the body.

An important context for my work is Saint Moth—an authorial studio that I understand both as a physical space of artistic production and as a symbolic site of transformation. It is there that my artistic practice intersects with work involving natural materials, an attentiveness to process, and a sustained reflection on what remains hidden. The moth, present in the name Saint Moth, functions for me as a particular symbol of transformation. I do not treat it merely as a visual motif, but as a sign of a specific sensitivity—to what is fragile, liminal, flickering, and not fully domesticated.