Works 2025
"Keeping Contradictions in Bloom" 2025 The oblique tensions and contradictory rhythms perceived in the gaps of sensory experience are translated into a structure of colour, line, and light. In the indeterminate zone where disparate perceptual units collide and coexist, a provisional order begins to form on its own.
Queen Bee Wing Wing, 2024 acrylic gouache, acrylic spray, silkscreen, 106 × 73 × 6.5 cm Air Stroke, 2025 Roots of a Tree, Trimmed and Painted, 3 pieces. “Wing-Wing, Outside the Bounds of Speech” This exhibition unfolds within an affective flow where the boundaries between the human and the non-human begin to blur. It translates the single, irreversible flight—a moment that cannot be repeated—into a rhythm of sensation and a visual movement that extends beyond narrative.
Sing Sing Strawberry,2024 Circus of the Sun, 2023 “Sing Sing Strawberry” (2024) captures fragments of everyday symbols and reconfigures them into playful spatial rhythms and structural compositions. “Circus of the Sun” (2022–2023) unfolds as a chromatic metaphor that contemplates the delicate equilibrium of life under the sun.
Bring About (__) (2019) explores Spinoza’s structure of affect by translating the flow of desire, joy and sadness into a visual interplay of line, colour and layered forms. Using a hanging structure with dry-cleaning vinyl, the work invited viewers to walk between the pieces, touch the drawings and physically rearrange the layers of affect. This early experiment marked the emergence of key attitudes in my later practice—residual affect, relational geometry and the sensory layering of provisional scenes.
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Reordered Time, 2018 Ceramic, Installaion Branches grow through the rhythm of time; their length becomes a visible record of its passage. I began this work by reading that length as a unit of time itself. It is an attempt to revisit the fragments of the past that shape our lives and, through their reordering, shift reality ever so slightly. Branches broken off by a storm already contain their own temporality. I cut these fragments irregularly, rearranged them, and transformed them into abstract configurations. By unifying these forms in ceramic, I separated the branches from their natural context and turned them into signs of time reassembled. This work does not simply recall the past; it investigates how time can be reconstructed, displaced, and reorganized beyond its linear flow.
