My practice works with surface as a communicative system through which value, visibility, and embodiment are negotiated rather than fixed.

Across performance, material experimentation, image-making, and immersive environments, I treat surface not as decoration or finish, but as an interface — a site where pressure, judgement, desire, and care become perceptible. Rather than representing meaning, the work sets conditions in which meaning emerges through interaction, instability, and duration.

Earlier work operated directly within economies of visibility, colour, and circulation. Over time, those conditions became material in themselves, prompting a shift toward practices that slow down and expose how value is produced through appearance, participation, and encounter.

Recent work engages shimmer, error, and material instability as methodological tools. Often dismissed as superficial or excessive, these surface behaviours are mobilised as feminist strategies that resist clarity and ownership. Shimmer functions not as an aesthetic effect, but as a condition of perceptual fluctuation — one that delays recognition and keeps meaning provisional.

Audience participation, material residue, and processes of accumulation play a central role. Cracks, distortion, inscription, and after-effects are retained as evidence of use rather than resolved into polished outcomes. The work privileges consequence over control.

This practice moves between public-facing exhibition contexts and research-led experimentation, allowing different registers of visibility to coexist without collapsing into a single form.