Description

My practice interweaves fiber and clay to examine how knowledge is materially and bodily transmitted. Through backstrap weaving, natural dyeing, and hand-built ceramics, I treat making as a performative act in which meaning emerges through process rather than being imposed afterward. The warp’s tension, the rhythm of coiling, and the accumulation of touch register time and agency within the object itself.

I incorporate backstrap weaving, a body-centered technique in which the weaver becomes part of the loom itself. One of the oldest weaving techniques, with a rich heritage across Asia and Central and South America. Through research and residencies in Japan, Peru, Guatemala, and the United States, I reconnect with this practice as both artistic language and shared human inheritance.

Rooted in memories of Japanese rituals and materials, each sculpture emerges as a quiet guardian shaped through resilience and protection. The slow acts of weaving, dyeing, and hand-building become gestures of care and repair. Through this dialogue, I search for resilience, for the quiet strength within making, and for ways to preserve what must be held.