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I worked with drop cloths, industrial paints, sewing, and found materials, mostly things that feel cheap, accessible, or overlooked, and let them shift between painting, object, and installation. A lot of the process was driven by frustration and repetition, where things felt unfinished for a long time, and I had to keep working through that instead of resolving it. <p></p> I started using simple forms, like the infinity symbol, not as something to read clearly but as something that gets buried, layered, and changed depending on light and space. Over time, the work moved between larger pieces and more intimate ones, which started to feel important. <p></p> I didn’t want the work to directly explain my identity, but it’s still in there—in the materials, in the way things are constructed, and in the tension between different systems of value. 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