Between Presence and Erasure
At the core of my practice lies an engagement with what remains unseen yet deeply embedded in everyday life. I am drawn to the quiet presence of labour, the fragile conditions of visibility, and the subtle structures that shape how we perceive people and spaces. Much of my work emerges from observing those who exist in the margins, physically present yet socially overlooked.
My philosophy is rooted in material thinking. I often work with found or contextually loaded materials like construction netting, not simply as a medium but as a metaphor. These materials carry their own histories. They conceal, protect, and divide, much as the social systems we inhabit do. Through them, I try to question what is made visible and what is deliberately obscured.
There is also a persistent interest in the idea of transparency, not as clarity, but as something deceptive. What appears visible is not always fully understood. This tension between seeing and knowing forms a critical axis in my work.
In many ways, my practice is less about representation and more about evocation. I am not trying to illustrate labour or social conditions directly, but to create situations where the viewer becomes aware of their own position within these layered realities. If there is a guiding principle, it is this: to make the invisible felt, and to gently disturb the comfort of looking without truly seeing.
About Portfolio
My practice begins with observation of everyday life, especially the unnoticed presence of labour and the spaces it inhabits. I work with materials like construction netting, thread, and paper because they carry social meaning and reflect systems of visibility and concealment. My process is intuitive but grounded in critical thinking, allowing the material to guide the form. I use installation, printmaking, and mixed media to create layered experiences rather than fixed images. I am interested in how we see and what we ignore. Through my work, I try to make the invisible felt and question the act of looking itself.
Portfolio Showcase
Theatre of Control Block Printmaking 274x122 cm 2025
The work feels like entering a tense, unsettled terrain. The sharp red against black creates a sense of pressure, almost suffocating. Figures sit, stand, and linger, yet remain disconnected, as if held within invisible boundaries. The structures seem unstable, shifting between shelter and control. It reads like a fractured memory, where unease quietly persists beneath the surface.
Hallabol, BlockPrintmaking, 72 x 48 inch, 2021
“Hallabol” feels loud without sound. The bold lettering pushes forward like a collective shout, yet the figures behind it seem strained, almost trapped within the act of expression. Barbed wire cuts across the space, turning voice into something restricted. The imagery recalls protest, but also control, where power distorts communication. It holds a tension between resistance and suppression, where speaking out becomes both necessary and dangerous at the same time.
Supressed, Etching , 12 x10 inch ,2023
This etching unfolds like a fractured memory, where spatial logic collapses into psychological tension. Disjointed figures, a looming animal silhouette, and the word “RIGHTS” emerge as unstable signs within a dense field of cross-hatching. The inversion of orientation unsettles perception, suggesting suppressed narratives and power imbalance. The work recalls traditional printmaking discipline while confronting contemporary anxieties, where bodies, spaces, and symbols resist coherence, exposing the quiet violence embedded in everyday structures.
Farmer oppressed, Block print on paper,24x18 inch, 2023,
This block print resists sentimentality and instead constructs a charged visual language of distress. The farmer’s exaggerated gaze is not merely expressive but confrontational, implicating the viewer within structures of observation and neglect. The carved marks operate as both form and wound, inscribing labour onto the body itself. Compressed space and enclosing lines suggest systemic pressure rather than individual suffering. Drawing from the austerity of traditional printmaking, the work situates the agrarian crisis within a broader discourse of visibility, power, and representation.
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