My practice is grounded in inversion—visual, conceptual, and contextual. I am interested in how shifts in established systems of perception alter the interpretation of an image, text, or object. I use inversion not as a formal device, but as a method for questioning the stability of meaning.

In earlier works, I approached inversion through color, disrupting familiar relationships between the body, nature, and its environment. In my current practice, this method extends to the book.

I do not begin with a blank page. I begin with an existing book—an object, a text, and an already constructed system of ideas. I appropriate the book and establish a position in relation to it: extending its logic, shifting its context, inverting its premise, or working in direct opposition to it.

The book establishes the conditions of the work but does not determine its outcome. Text can become image, image can function as argument, and a sequence of pages can become a continuous spatial structure. I frequently use the accordion-book format to retain the physical architecture of the book while disrupting its linearity.

I do not work within a fixed medium. Watercolor, drawing, text, found imagery, objects, and installation are determined by the conceptual requirements of each project.

I approach appropriation as a form of critical reading and inversion as a method of revision. I am interested in the point at which a familiar structure begins to produce a statement that contradicts—or turns against—its own premise.