My work examines industrial structures and materials: packaging, construction debris and architectural ruins. I focus on how they are built and how they corrode, exploring the transition between becoming and crumbling. Drawing from my work with archeologists, theatrical set design, and studies of the Capriccio tradition, I approach overlooked materials and spaces as silent narrators of our contemporary history.

Packing materials are central to my practice: transient forms with architectonic qualities, designed solely to protect what we deem valuable. They mark time through physical transformation like natural materials shaped by weather: wearing, fading, shifting. Yet as industrial remnants, they carry traces of human activity and construction.

In my sculptural work, I carefully craft and place fragile elements in unstable arrangements that appear to be holding themselves together just long enough to be seen. The pedestals and supports are precariously built and integrated into the work itself, further evoking a sense of imminent collapse held in suspension. This is a direct reflection on the urban spaces in which we live: sites of construction and decay, ambition and neglect, endurance and erosion.

I shift to a more intimate scale in works on paper, depicting mundane scenes: a piece of styrofoam deteriorating on the sidewalk, scaffolding covers, a scrap of bubble wrap. I treat the seemingly insignificant as protagonists, witnesses to our building and consuming: materials whose very existence depends on our needs.

Working with these everyday forms and materials, they become vessels of memory and presence. My place in a culture that reveres the preservation of statues, ceramics and ancient stones has profoundly shaped my sensitivity to how materials carry history. I want to hold on to these overlooked fragments that reveal our histories, shifting them from the temporary and disposable to something preserved, seen, and remembered.