My practice explores themes of migration, memory, and movement—stories carried by the body and imprinted in material. I paint to trace what shifts when someone leaves one place and tries to build meaning in another.

I work with acrylics, oils, oil sticks, dry pigments, and pastels, using layering, scraping, and reworking to let earlier gestures show through. I often paint on plywood or handmade supports, avoiding ready-made surfaces. Sawing, stitching, and the use of industrial paints are part of the process—choices that reflect the roughness of the stories I’m trying to tell.

Each piece holds fragments: a foot in motion, a faded sign, a colour that lingers longer than it should. Some works incorporate found or reclaimed objects—things left behind or picked up along the way. These sculptural elements speak to displacement in physical form: fragile, provisional, reassembled.

Colour plays a central role in how I understand memory. As someone with colour blindness, I rely on contrast, instinct, and emotional tone to create tension and resonance.

My work doesn’t try to explain migration—it holds space for it. Each piece is both personal and collective, rooted in what’s been lost, carried, or quietly remembered.