I like working with construction debris.

Insulation, drywall, cardboard - irregular offcuts and leftovers from building the “proper” humanbox of right angles and clean lines are accidental shapes, fragments of utility. Choosing waste asmy primary medium is less an ethical position than an aesthetic and practical one: I’m driven by the ardour of pulling matter back from entropy and making it serve again, if only as an object for contemplation - setting in motion a small cycle from decay and meaninglessness to temporary value, and back.

My work does not follow the familiar logic of recycling. I’m not interested in meeting expectations of “upcycling,” nor in returning trash to the category of the aesthetic as-is. I don’t aim to preserveor emphasize its identity as waste; instead, I focus on joining, fusing, and reprocessing - until the material’s origin becomes irrelevant and a new form takes its place. In photography, my gesture moves in the opposite direction: I don’t create or intervene much.

Everything is already there; my work is to locate the exact viewpoint where reality discloses itself in the way I recognize as true. With objects, I feel both omnipotent and powerless at once: I can force connections, melt, construct, but the material resists, branches, and offers endless alternatives. This tension - between “to reflect” in photography and “to make” in objects - becomes my way of working with time: between the residue of a previous form and the possible beginning of a new one.

My visual language emerges through transformation. I often assemble objects as reliquaries, maps, and systems of display or observation - attempts to hold time, register its traces, fuse chaos with the everyday, and assign them a new kind of value. I use gilding and silvering, deliberately artificial and aerosol-based, to underline the gap between value and its imitation at the moment of exhibition - leaving space for the viewer to construct value on their own terms.