My practice is rooted in biophilia—the idea that humans have an innate connection to the living world. I’m interested in how the body and the botanical echo one another, and how we can recognize ourselves within the shapes, patterns, and systems of nature. Through panoramic wall-based installations, I explore these relationships in a direct, physical way.

My current work comprises large groupings of hand-carved clay seeds and leaves inscribed with patterns and marks that reference cycles of growth, memory, and regeneration. I often use warm earth pigments in the incised areas, which are inscribed with symbols of reproduction, biodiversity, and the fragile ecosystems to which we belong. The carvings are suspended on sewing needles or pins— everyday objects that are simultaneously delicate and structural—whose reflective surfaces subtly mirror the surrounding environment.

The process of carving is slow, repetitive, and grounded in touch. That sense of time and physical engagement remains embedded in the work itself. As more of our daily lives are experienced through screens rather than direct physical contact, I see this work as a response to that shift—an effort to return to material, tactile experience.

As installations, the pieces build into quiet, immersive environments that invite closer looking. At a time when so much of life feels distant or mediated, my work aims to bring attention back to the body, to presence, and to our ongoing relationship with the natural world.