Description

My work places the intuitive act of painting in dialogue with the repetitive systems of weaving. I paint directly onto yarn before it is woven, allowing color to mix, bleed, and shift as it is drawn into the structure of the loom. This process brings together two ways of building an image. Painting allows for blending and fluid transition, while weaving breaks that image into small, discrete units. From a distance, the image appears cohesive. As you move closer, the structure becomes more visible. Edges separate, colors misalign, and the figure shifts. The work develops through two interconnected modes. It begins with a quieter phase of processing—reflecting on lived experience, what has been seen, read, and carried over time. I consider what feels specific and what might resonate more broadly. This moves into a structured phase of planning, where compositions are mapped through geometry, repetition, and color. The final stage unfolds in the studio, where I return to intuition. Through painting and weaving, I work in response to what is already present, allowing the material processes to guide the work forward. While the structure is deliberate, the loom introduces shifts beyond my control. Threads move as they are woven. Alignments change. The image is altered through the physical conditions of the process. Each piece holds a balance between precision and disruption. Faces and figures emerge within this tension. Some areas resolve into recognizable features, while others remain diffuse or incomplete. Unbound threads sag and extend across the surface, creating moments that feel in transition. The image is never fully fixed. My work is shaped by a life of movement between cultures and languages. That experience of continual adjustment—of learning systems, patterns, and expectations, and carrying them elsewhere—has had a lasting impact on my process. The work emerges from this instability of translation, rather than from a fixed point of origin.