Present Portal (2026)
25 x 19 x 69 cm
Acrylic, recycled plastic, resin, spray foam, spray paint
Portals is a sculptural series exploring the tension between imagining the future and remaining grounded in the present, considering how perception is shaped by both what has happened and what has yet to come. Each sculpture takes on an organic, column-like form that appears grown rather than constructed. While they share a common origin, their surfaces shift in texture and color, suggesting how a single life unfolds across different states of time.
Future Portal (2026)
26 x 23 x 54 cm
Acrylic, laser image transfer, recycled plastic, resin, spray foam, spray paint
Portals is a sculptural series exploring the tension between imagining the future and remaining grounded in the present, considering how perception is shaped by both what has happened and what has yet to come. Each sculpture takes on an organic, column-like form that appears grown rather than constructed. While they share a common origin, their surfaces shift in texture and color, suggesting how a single life unfolds across different states of time.
Past Portal (2026)
27 x 15 x 26 cm
Acrylic, recycled plastic, resin, spray foam, spray paint
Portals is a sculptural series exploring the tension between imagining the future and remaining grounded in the present, considering how perception is shaped by both what has happened and what has yet to come. Each sculpture takes on an organic, column-like form that appears grown rather than constructed. While they share a common origin, their surfaces shift in texture and color, suggesting how a single life unfolds across different states of time.
Untitled Boulder 1 (2026)
12 x 18 x 38 cm
Acrylic, gorilla glue, inkjet photograph, recycled plastic, resin
What Remains of Us is a series of resin boulders formed through repeated cycles of rupture and repair. Each encases a blue monochrome photograph of someone who once shaped my life, reflecting on past friendships and the imprint they leave behind.
As I developed the work, the process resisted control. In winter conditions with unstable, expired resin, the forms leaked, shifted, and refused resolution. I attempted to fracture and seamlessly seal the surface, but instead found myself repeatedly intervening, layering resin, wrapping the forms, and eventually melting recycled plastic to contain persistent leaks.
Rather than restoring the objects, these efforts exposed their instability. The act of making became inseparable from the subject. What emerged is not repair, but an ongoing negotiation with damage, where each attempt to contain rupture reveals the conditions that produced it.
Untitled Boulder 2 (2026)
8 x 17 x 23 cm
Acrylic, gorilla glue, inkjet photograph, recycled plastic, resin
What Remains of Us is a series of resin boulders formed through repeated cycles of rupture and repair. Each encases a blue monochrome photograph of someone who once shaped my life, reflecting on past friendships and the imprint they leave behind.
As I developed the work, the process resisted control. In winter conditions with unstable, expired resin, the forms leaked, shifted, and refused resolution. I attempted to fracture and seamlessly seal the surface, but instead found myself repeatedly intervening, layering resin, wrapping the forms, and eventually melting recycled plastic to contain persistent leaks.
Rather than restoring the objects, these efforts exposed their instability. The act of making became inseparable from the subject. What emerged is not repair, but an ongoing negotiation with damage, where each attempt to contain rupture reveals the conditions that produced it.
Untitled Boulder 3 (2026)
13 x 13 x 23 cm
Acrylic, gorilla glue, inkjet photograph, recycled plastic, resin
What Remains of Us is a series of resin boulders formed through repeated cycles of rupture and repair. Each encases a blue monochrome photograph of someone who once shaped my life, reflecting on past friendships and the imprint they leave behind.
As I developed the work, the process resisted control. In winter conditions with unstable, expired resin, the forms leaked, shifted, and refused resolution. I attempted to fracture and seamlessly seal the surface, but instead found myself repeatedly intervening, layering resin, wrapping the forms, and eventually melting recycled plastic to contain persistent leaks.
Rather than restoring the objects, these efforts exposed their instability. The act of making became inseparable from the subject. What emerged is not repair, but an ongoing negotiation with damage, where each attempt to contain rupture reveals the conditions that produced it.
Untitled Boulder 4 (2026)
16 x 14 x 34 cm
Acrylic, gorilla glue, inkjet photograph, recycled plastic, resin
What Remains of Us is a series of resin boulders formed through repeated cycles of rupture and repair. Each encases a blue monochrome photograph of someone who once shaped my life, reflecting on past friendships and the imprint they leave behind.
As I developed the work, the process resisted control. In winter conditions with unstable, expired resin, the forms leaked, shifted, and refused resolution. I attempted to fracture and seamlessly seal the surface, but instead found myself repeatedly intervening, layering resin, wrapping the forms, and eventually melting recycled plastic to contain persistent leaks.
Rather than restoring the objects, these efforts exposed their instability. The act of making became inseparable from the subject. What emerged is not repair, but an ongoing negotiation with damage, where each attempt to contain rupture reveals the conditions that produced it.
Untitled Boulder 5 (2026)
7 x 15 x 18 cm
Acrylic, gorilla glue, inkjet photograph, recycled plastic, resin
What Remains of Us is a series of resin boulders formed through repeated cycles of rupture and repair. Each encases a blue monochrome photograph of someone who once shaped my life, reflecting on past friendships and the imprint they leave behind.
As I developed the work, the process resisted control. In winter conditions with unstable, expired resin, the forms leaked, shifted, and refused resolution. I attempted to fracture and seamlessly seal the surface, but instead found myself repeatedly intervening, layering resin, wrapping the forms, and eventually melting recycled plastic to contain persistent leaks.
Rather than restoring the objects, these efforts exposed their instability. The act of making became inseparable from the subject. What emerged is not repair, but an ongoing negotiation with damage, where each attempt to contain rupture reveals the conditions that produced it.
WIP. I’ve been reflecting on the people who have entered my life, stayed for a time, and left a lasting impact. This upcoming collection is about trusting the direction life takes and honoring the memories formed along the way.
