My work often begins with something I come across—a found image, a news article, or emerging technologies that spark my curiosity. I see my process as puzzle-solving, reconstructing existing ideas that haven’t yet taken form in my practice. Films, pop culture, and feminist discourse frequently drive my work, particularly about the unresolved questions of 1960s feminist art. I consider how artists like Martha Rosler and Hannah Wilke challenged sexual politics then—and how I might respond now.

Experimentation is central to my process. I push materials to their limits, whether covering a brick hut in tin foil to create a mirror or using the glass-like qualities of boiled sweets to mimic kitsch ornaments. Failure and unpredictability shape my approach; I let materials guide me, allowing the work to evolve beyond what I first envisioned. Photography and video, and more recently virtual reality, have become tools for exploring scale, perception, and transformation.

Recent experiments with AI-generated imagery have further expanded this inquiry, opening up new ways of thinking about psychological space, repetition, and how memory might be translated into sculptural and virtual environments.