In my work, I merge various elements of painting and drawing with embroidery, crafting a rich visual palimpsest where past approaches and current abstractions coexist harmoniously. Techniques and motifs from my earlier artistic practices resurface in layered forms, with embroidery adding significant tactile depth and striking dimension to my abstract compositions.

The physical act of making—layering, stitching, hand cutting, and mark-making—is central to my practice. Each meticulous cut, stitch, brushstroke, and drawn line is a deliberate act of labor, a tangible record of time spent in the process. The repetitive, meditative nature of stitching, and cutting, slows the act of creation, emphasizing the weight of each gesture and the endurance required to build form and meaning. Through this sustained engagement with material and method, I explore how labor itself can become a marker of memory, persistence, and transformation.

The materials I use hold fragments of past gestures and decisions, which are recontextualized to resonate with the present moment. This approach stems from a previous body of work shaped by my personal struggle with illness, where making became both a means of endurance and a way to externalize the complexities of that experience. By weaving these memories into new abstractions, my past and present artistic languages converge and interplay, continually shaping and redefining one another. This process of accumulation and revision mirrors the fluid nature of memory—both fragile and enduring—where each layered mark reveals and obscures, constructing a history of labor and care embedded within the surface.