My work employs animal and human forms as points of departure for examining the posthuman condition. I engage with the entangled histories of human and nonhuman experience, focusing on the ways animals have been represented, instrumentalized, and understood across historical and contemporary contexts. When working with animal subjects, I investigate species-specific modes of embodiment and gaze, seeking to articulate the communicative capacities of nonhuman bodies. I am particularly interested in the structural affinities between human and animal dispositions and in the ways these continuities persist beneath and through our corporeal forms. By altering categorical boundaries—between human and nonhuman species, animate and inanimate objects, and “nature” and contemporary society—I aim to explore the tensions, negotiations, and counteractions that shape shared existence. My approach is informed by postcolonial theory, animal studies, and feminist ecology, all of which guide my efforts to displace anthropocentric assumptions and to examine the interwoven dimensions of humanity and animality within my own nature.

In compositions, I place elements in states of binary opposition or conceptual friction, inviting viewers to examine inherited structures of meaning and imagine alternative relational configurations. Material and formal transformations—through shifts in scale, medium, chromatic choice, or spatial orientation—serve as strategies for contemplating habitual modes of perception. By juxtaposing human, animal, and quotidian objects, I aim to reveal the layered complexities of interspecies and inter-object encounters: How do we come to read certain configurations as unsettling, humorous, tragic, or pleasurable, and what do these responses disclose about the frameworks through which we apprehend difference and relation?