Drawing is the structural foundation of my work. Layers of ink, pigment, wax, and acrylic build across varied surfaces. Through cycles of mark-making, erasure, and revision, traces of their construction remain. Each surface records decisions and adjustments. Drawing becomes both away of thinking and a method for building form.

The figures that emerge are not portraits but constructed characters shaped through exaggeration and a personal system of folklore. They exist between familiarity and invention,like fragments of unwritten stories or glimpses of a larger imagined world. Through distortion, shifts in scale, and layered marks, the face becomes a symbolic form that carries emotional and psychological presence rather than a literal identity. My focus on the head and face comes from their power to convey vulnerability and intensity.

Subtle shifts in expression, line, and structure communicate this. Isolating the figure and reducing the composition directs attention to the charge within a single image. The work moves away from individual likeness toward something more open-ended and shared. My broader vision is to develop a visual language in which these invented figures act as vessels for exploring emotional states, imagination, and narrative possibility. The work functions less as a depiction and more as a presence; balancing recognition with unfamiliarity to create space for viewers to project their own narratives, memories, and associations.

My practice expands through ongoing experimentation with materials, surfaces, and drawing methods while maintaining a consistent focus on the expressive potential of the figure. As the work accumulates, it forms a connected body of images shaped by recurring forms, evolvingcharacters, and a developing visual mythology.