I work at the boundary between sensation and thought.

For a long time, my practice was rooted in materiality.
I began by interpreting the sensory qualities of objects in the world and reconfiguring them into wearable forms of jewelry. Through designing both Fashion and Fine Jewelry, I closely observed what humans perceive as beautiful—and how psychological desire and internal narratives are projected onto aesthetic choices. The weight of metal, the reflection of surfaces, the feeling against the skin were never mere decoration to me, but vessels of memory and emotion.

As my life underwent a fundamental recalibration of rhythm, my work encountered a decisive shift.
I moved beyond representation, function, and ornamentation toward more essential questions: emotion before form, perception before explanation, states that exist prior to being named.

These questions led me to the languages of Poetry and Painting.
My work does not offer a guided path or a fixed interpretation. Instead, it waits for the viewer’s own time, memory, and philosophy to quietly overlap with the work.

A piece is not a completed message, but a device.
Within it, each viewer projects their own world and engages in slow contemplation. I choose not to explain, but to leave space.
Within unfilled voids, sedimented emotions, and forms that resist clear definition,
I hope that one’s inner voice begins to speak on its own.

This work is not a conclusion of the past, but an ongoing process—
one that continues to unfold, and one that I remain within.