I first developed my practice around documenting impermanent places — the overlooked corners, shifting landscapes, and fragile architectural traces that hold emotional weight. Using an experimental approach to printmaking, I worked with recycled packaging, low‑fi mark‑making, and processes that embraced chance, erosion, and the beauty of things that don’t last. Those early works were my way of paying attention to spaces that were changing, disappearing, or quietly holding stories that often went unnoticed.

Now, as I move into the sixth year of this practice, I’m feeling a pull to evolve these ideas in a more embodied and participatory direction. I want to explore outcomes that can erode or fade over time, creative processes that exist for a moment and then shift, and work that feels more somatic and present rather than fixed or permanent. Alongside this, I’m returning to my landscape and architectural drawings as starting points for storytelling and wellbeing workshops — using place, memory, and mark‑making to support reflection, connection, and personal agency.

This next phase feels like a natural continuation of where I began: still rooted in impermanence, still attentive to overlooked spaces, but now opening up into shared experiences, lived moments, and creative outcomes that move with people rather than staying on the wall.