Statement

My work studies what water leaves behind and how matter can hold that memory. I am interested in traces, seams and the quiet records of time that remain after movement stops. The core question is simple. How can a field let flow and residue be read together without illustration.

I work with ceramic reliefs, fragments, sand and drawing in space because they keep evidence visible. clay holds a dry edge that records air and pressure. sand preserves faint channels like a low tide ground. measured gaps between parts operate as drawing the body can follow. Fragments are kept and placed with care. They are not faults but records that show where energy gathered and a form gave way. This acceptance of breakage shapes the work toward ideas of care, repair and attention rather than display.

Contexts that inform this position are specific. Eva Hesse’s early room works keep fragility active and show how drawing can move into space. Readings of Duchamp’s Large Glass accept cracking as meaning rather than damage. Rachel Whiteread’s casts help me think about absence as content and about how a surface can store memory. I also look at discussion of the expanded field to frame placement and spacing as content rather than support. Archaeological display is a model where shards are presented as knowledge rather than waste. The aim is to build clear conditions for looking. I set the room as a low field where small changes in surface and light can be read and where flow and break can be seen together.