My work examines how femininity is constructed through architecture, material culture, and systems of power and display. Informed by my background in architecture, I approach collage as a form of spatial assembly, building layered environments that function as thresholds, vitrines, and compressed sites of desire. Through hand-cut vintage ephemera, florals, figures, and found objects, built up through alternating layers of resin, I construct worlds that are seductive on the surface and structurally unstable underneath. The work is surreal in its logic: scale collapses, spaces contradict themselves, and beauty operates as both invitation and trap.

Across my practice, I am interested in how female identities are rehearsed and how figures are positioned within spaces saturated with power they have been trained not to see. Some works approach this through the architectural, with figures dwarfed by or absorbed into institutional interiors, the body negotiating spaces that were not built for her. Others use the language of the floral still life, embedding fragments of material culture within a classic vanitas framework to expose the ingrained misogyny and commercial contradictions hidden in plain sight. In all of it, the resin is not a finish. It is a structural element, building depth, sealing evidence, and transforming the ordinary into something that must be looked at slowly.

I am drawn to the moment when aesthetic pleasure tips into interrogation, when a surface that initially reads as ornamental reveals itself as a compressed anatomy of consumerism, desire, and constraint.