My artistic practice is rooted in sculpture and installation, driven by a deep connection to materiality and the intimacy of working with my hands. I am drawn to the physical act of shaping, carving, assembling, and layering materials, finding meaning in the transformation of raw matter into something emotionally charged. Whether working with cardboard, wood, fabric, paint, found objects, reflective surfaces, artificial jewels, or mixed media, I am interested in how materials carry emotional weight through their texture, fragility, scale, and history. Through this tactile process, I feel a direct transfer of emotion from my body into the work itself. Even when I work in painting, drawing, or photography, I approach each medium with a sculptural mindset, treating surfaces as spaces to build, layer, and physically construct rather than simply depict.
At the core of my practice is a desire to create immersive environments that translate internal emotional experiences into tangible forms. I am particularly interested in feelings that resist direct language: longing for something undefined, nostalgia for the past or something intangible, the tension between intimacy and distance, and the uneasy overlap between fantasy and reality. Rather than communicating these emotions through autobiography or literal narrative, I construct symbolic worlds in which objects, materials, and spatial relationships act as emotional stand-ins. Ornamental details, theatrical staging/framing, fragmented architecture, reflective surfaces, and recurring motifs become visual metaphors for memory, desire, vulnerability, and uncertainty.
Scale plays a central role in my work. I am drawn to large-format sculptures and installations that transform viewing into a physical experience, inviting audiences to move through and inhabit the environments I create through installation and sculpture. Across these spaces, dimensional forms are layered with dense embellishment, intricate textures, decorative elements, and unexpected materials. Maximalist accumulations of detail encourage viewers to slow down and navigate the work closely, while the physical presence of the installation creates a sense of immersion that cannot be experienced from a distance. I am interested in how visual excess can function emotionally, creating spaces that feel simultaneously seductive, overwhelming, fragile, and melancholic.
Storytelling serves as a method of world-building within my practice. I often construct imagined scenes that feel suspended between memory, dream, and fiction, using symbolic objects and environments to hold emotional narratives that are difficult to articulate directly, which can be seen in most of my pieces. Rather than offering fixed meanings, these spaces remain intentionally open, allowing viewers to project their own experiences onto the work. For example, it is usually a theatrical arrangement of forms that may create the feeling of entering a story whose ending remains unresolved. I am less interested in illustrating specific events than in creating atmospheres that communicate emotional states through physical experience.
My work is informed by artists who embrace theatricality, ornamentation, and emotional ambiguity as well. I feel a particular affinity with Milano Chow's ability to construct psychologically charged spaces that blur the boundaries between reality and imagination. I am also deeply influenced by Karen Kilimnik's dreamlike environments and poetic approach to storytelling, particularly in works such as The Theater of the Gods, Red Square at Night, Dreamland, 9 PM, and 3 AM, Moscow Time. Kilimnik's ability to evoke longing, romance, fantasy, and melancholy through fragmented narratives and carefully staged settings in their paintings resonates strongly with my own interest in creating environments that function as emotional landscapes rather than literal representations. These influences encourage me to think of art as something that can be inhabited emotionally as much as physically.
I make my work because I believe emotional experience deserves a tangible form. In our contemporary space, I am interested in creating spaces that demand slowness, attention, and embodied engagement. Through immersive installations, sculptural environments, and layered symbolic imagery, I invite viewers to experience feelings of wonder, nostalgia, curiosity, longing, and uncertainty before they fully understand what they are seeing. I hope the work creates moments where viewers can encounter emotions that are familiar yet difficult to name, allowing physical space, material presence, and symbolic forms to communicate what language alone often cannot. By transforming emotion into something tangible and experiential, I seek to create environments that foster reflection, connection, and a renewed awareness of the emotional complexity of being human.
