without pause marks a focused moment within an ongoing practice sustained by the quiet cadence of the studio.
Drawn to how systems develop through routine and how repetition produces structure: a repeated route, an incidental surface, the way a building or a body is registered in passing. Here, a life with its own rhythms— in a city, between work, studio and social — runs quietly through the practice as material rather than subject.
Collage is the organising principle, but operates as structural rather than a compositional method. Works begin with provisional gestures: a practical solution, a material decision, that is absorbed, repeated until deliberate and extends into a system of its own. Wood enters this body of work as a frame and also as a subject. Ceramic forms function as containment devices, establishing an internal order that precedes and shapes what is placed within them. Their surfaces become a site of sustained material inquiry, treated with metallic and volatile compounds that reference the industrial. Cracks are mended and absorbed into the surface rather than concealed as the work records its own making.
Structures repeat, stack, and fold back into themselves; repetition becomes rhythm and small habitual actions accumulate into form as the work attends to the physical conditions of looking.
Drawn to how systems develop through routine and how repetition produces structure: a repeated route, an incidental surface, the way a building or a body is registered in passing. Here, a life with its own rhythms— in a city, between work, studio and social — runs quietly through the practice as material rather than subject.
Collage is the organising principle, but operates as structural rather than a compositional method. Works begin with provisional gestures: a practical solution, a material decision, that is absorbed, repeated until deliberate and extends into a system of its own. Wood enters this body of work as a frame and also as a subject. Ceramic forms function as containment devices, establishing an internal order that precedes and shapes what is placed within them. Their surfaces become a site of sustained material inquiry, treated with metallic and volatile compounds that reference the industrial. Cracks are mended and absorbed into the surface rather than concealed as the work records its own making.
Structures repeat, stack, and fold back into themselves; repetition becomes rhythm and small habitual actions accumulate into form as the work attends to the physical conditions of looking.
