My practice is grounded in inversion - visual, conceptual, and contextual. Shifts within established systems of perception become a way to reconsider how meaning is constructed through images, texts, and objects. Inversion functions not as a formal device, but as a method for questioning the stability of meaning.

 

Earlier works approached inversion through color, disrupting familiar relationships between the body, nature, and environment. In recent work, this method has extended to the book.

 

Rather than beginning with a blank page, each project begins with an existing book an object, a text, and an already constructed system of ideas. The work develops in relation to this source by extending its logic, shifting its context, inverting its premise, or taking an antagonistic position toward it.

 

The book establishes the conditions of the work without determining its outcome. Text can become image, image can function as argument, and sequences of pages can become continuous spatial structures. The accordion-book format often retains the physical architecture of the book while disrupting its linearity.

 

Medium is determined by the conceptual requirements of each project and may include watercolor, drawing, text, found imagery, objects, and installation. Appropriation functions as a form of critical reading, and inversion as a method of revision testing the point at which a familiar structure begins to produce a statement that contradicts, or turns against, its own premise.