I acquire objects from diverse sources—discarded fragments, weathered tools, remnants of the natural world—drawn to their patina, history, and quiet potential. Each object carries a story embedded in its surface. 

These objects then undergo transformation. by forming, cutting, bending, sanding, and binding, I intervene in their existing identities. Alteration is both a form of disruption and of renewal—an exploration of how far an object can be pushed before it becomes something else entirely. This transformation blurs the boundaries between what is found and what is made, between memory and invention.

The final stage is arrangement: I consider balance, tension, and rhythm as I juxtapose contrasting textures, scales, and materials. The compositions are abstract yet deeply tactile, inviting the viewer to navigate them physically and imaginatively.

In this practice, my process mirrors cycles of change in the world around us—objects are claimed, redefined, and recontextualized. The sculptures are not static monuments, but accumulations of decisions, gestures, and histories, assembled into a new whole that is more than the sum of its parts.