Biography
Art became central to my life when I realized it allowed me to understand form in ways engineering alone could not. Through photography, and sculpture, I learn how bodies hold light, how materials remember touch, and how manmade and natural structures echo one another. Art is where I train myself to truly see, without the constraints of function.
In Indonesia, I spent weeks studying and photographing Hindu high-relief sculptures carved from volcanic rock. Working in dim light, I tried to capture how moss, shadow, and time had reshaped their surfaces. Those figures felt both rooted in the jungle and distinct from it, and they taught me to perceive the body almost as a landscape—something shaped by environment, memory, and pressure.
In Florence, inspired by Michelangelo’s drapery studies, I photographed my own body wrapped in plastic sheets, then cast metal imprints from those forms. The experiment made me think about the tension between artificial and organic textures, and how a surface can carry emotion simply through the way it folds.
That interest eventually led me toward prosthetic-inspired sculpture. I 3D-printed mesh covers molded against my arm and created a layered leg form from recycled plastic offcuts collected at a rehabilitation center. Turning these discarded fragments into the sculpture itself allowed me to treat negative space—what was cut away—as part of the body’s story.
Across all my work, I’m drawn to how form emerges from constraint and how art can guide design toward something more humane, attentive, and alive.