My work exists within an ongoing series titled Relics, a body of paintings and ceramic vessels that considers how experiences persist after their moment has passed. I think of each work as an artifact rather than an image or object alone: a material record of emotional, psychological, and bodily experience.

Working between clay and paint, I am interested in what remains. Memory, grief, longing, tenderness, devotion, and restraint often resist direct language, yet they leave traces. Through accumulation, repetition, and physical labor, I attempt to give those traces form. The resulting works occupy a space between preservation and transformation, asking how experiences become embedded within surfaces and how objects can carry emotional weight without relying on narrative.

The concept of containment is central to my practice. Across both media, forms that initially appear protective or beautiful often reveal a more complex tension beneath the surface. I am drawn to moments when care becomes restriction, when devotion becomes fixation, and when preservation begins to resemble confinement. Rather than resolving these contradictions, the work remains suspended within them.

Clay and paint offer distinct but related ways of exploring these concerns. Ceramic vessels emerge through processes of compression, construction, and firing that record both intention and uncertainty. Their surfaces often grow through the accumulation of hundreds of individual elements, creating structures that feel simultaneously protective and burdened by their own density. The jar recurs throughout the work as a form associated with preservation, storage, ritual, and absence. These vessels function less as containers than as repositories for memory and emotional residue.

In painting, abstraction allows me to approach experiences that resist fixed representation. Layers of gesture, texture, and color accumulate until the surface begins to operate as a field of evidence rather than depiction. Forms emerge and recede, boundaries dissolve, and meaning remains unstable. I think of these paintings as sites where presence and disappearance coexist.

Underlying the work is an interest in duration. Every mark, layer, and addition records time spent in sustained attention. In a culture increasingly shaped by speed, efficiency, and dematerialization, the act of making becomes a commitment to physical presence. Through both clay and paint, I create objects that hold the traces of lived experience while remaining open to interpretation, inviting viewers to encounter their own histories within them.