My cutout wall sculptures begin with a single, distilled form—repeated, re-scaled, and re-composed across space. Working in series, the practice explores how one sculptural vocabulary can generate vastly different spatial and emotional readings through shifts in color, proportion, rhythm, and context.

Color functions as more than surface. Subtle tonal variation within a palette introduces nuance and internal tension, while transitions between palettes—reds, blues, greens, yellows, pinks, greys—reframe the same form as materially, psychologically, and architecturally distinct. As the form repeats, it establishes continuity; as color and placement shift, perception changes.

Installed directly on the wall, the works occupy a space between object and architecture. They read simultaneously as independent sculptures and as a collective system—testing how repetition, restraint, and variation can structure experience, activate walls, and recompose the room itself.