I approach my paintings as translations of mural practice into canvas — displacing the wall while retaining
its mnemonic and political charge. Working with plaster and acrylic, I construct surfaces that register
processes of accumulation, rupture, and erosion, where material operates as both
carrier and agent of memory.

The work engages with histories of rupture — revolutions, migrations, and collective loss — not as representational subjects, but as embedded conditions. These histories emerge through stratification, fragmentation, and gesture, resisting fixed narration in favor of a materially driven articulation of memory.

Figures remain largely absent, or persist as traces — indexical rather than descriptive — pointing to
individuals whose presence is inscribed rather than depicted.

By translating the visual language of murals into the scale of canvas, the works negotiate a
tension between the public and the intimate. The monumental is condensed, re-situated within
a space of proximity and reflection.

Each work functions as an open, unstable archive — challenging singular or institutionalized
narratives through layered, process-based surfaces. Memory here is not preserved as static record,
but understood as contingent, shifting, and continuously reactivated through encounter.

By transforming walls into carriers of memory, my practice creates spaces where stories are not
only preserved, but continuously reactivated through public encounter.