My work investigates how the body remembers what history fragments. Through drawing, repetition, and layered mark making, I treat the body not as a static subject but as a living archive that carries traces of movement, ritual, and ancestral memory. Figures in my work often appear in states of motion, strain, or transformation, suggesting that memory is not stored as narrative but enacted through gesture and rhythm.
I am particularly interested in how mark making can function as a form of embodied remembrance. Repetition, echoing lines, and accumulated surfaces operate like traces of movement—visual residues of breath, labor, and ritual practice. These gestures allow the work to move between presence and absence, where the body becomes both a site of historical fracture and a place where continuity can still emerge.
Within this framework, the work attempts to hold two tensions simultaneously: art as a space for healing and art as a form of critical inquiry. By engaging the body as an archive of lived and inherited experience, the drawings explore how visual practice can both confront historical rupture and gesture toward forms of repair.
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