There isn’t a single theme or central thread running through the work. Whether a single-screen video, a multi-screen installation, or a collection of objects, images, texts, or books, the work emerges through making while thinking. It is assembled from fragments, associations, and materials. The form is open, built from layered and often unstable relations between images, language, sound, and duration.
AI-generated prompts, purchased assets, news fragments, archival detritus, procedural recordings, gestures, voices, and traces of events all function as raw material. Some are found, others made, generated, or bought. None are fixed in meaning. Their significance comes through placement, tension, and proximity. The work operates as a kind of assemblage or collage where meaning surfaces through disruption, repetition, interruption, and delay.
It begins in response to breakdown: of structures, language, and meaning. It is not triggered by a single event but by a kind of saturation, an accumulation of violence, distortion, and erasure. Destruction, whether gradual or abrupt, leaves marks that resist resolution. Materials often arrive already damaged and already carrying a history. Discarded books, fragmented texts, unstable images, and media residues are not neutral. They are not used to illustrate but to think through what has been lost, obscured, or made incoherent.
Language is central, but not as a stable channel. I am drawn to where it falters, where it stammers, contradicts itself, or collapses under pressure. Poems, fragments, and ruptured dialogues fold into the work not as voice but as friction. They interrupt rather than explain. If meaning emerges, it does so provisionally, shaped by how things are placed, broken, repeated, or left unresolved. What matters is not coherence but the tension between parts, the fragile relation of elements held together just barely.
