ARTIST STATEMENT

My work is born from fracture—of the body, of nationhood, of memory. I work with cast bronze limbs, war relics, archival photographs, military debris, and collected remnants to confront how violence is inherited, obscured, and normalized. The figures appear in parts—severed legs, grasping hands, collapsed feet—not as decoration, but as testimony. These fragments embody survival in pieces.

I am drawn to remnants of war, labor, migration, state power, and the body itself. Bronze preserves what history attempts to discard; found objects retain the memory of use and misuse. My work is not about resolution, but about evidence—confrontation, and the refusal to sanitize pain. I do not aim to comfort. I make visible what has been buried, hidden, or erased.

These works are not separate; they form a single confession. Violence is systemic. Survival is collective. The body remembers what the nation tries to forget. War, labor, migration, and oppression inscribe themselves into flesh—even when history denies it.

Tenderness in this work is complicated by history, material, and violence. I work with fragments of lived experience in an attempt to make sense of dislocation. It's a negotiation between care and control, healing and harm. I am drawn to materials that resist: metal that refuses to bend, fabric that remembers the body.

The works exist in tension. Beauty collides with brutality; tenderness emerges through friction- In a world where violence is systemic, softness becomes an act of defiance—a way of witnessing, remembering, and reclaiming.

These assemblages are not answers, but monuments to what we carry and cannot fully release. The work lives between rupture and repair, asking how we might hold our histories without being consumed by them.