My practice explores hybridism as a way of combining conflicting visual, spatial, and cultural approaches into a single evolving language. Working with painting and wood-burning on both sides of three-dimensional surfaces, I create works that function simultaneously as image and object. This duality challenges the fixed nature of the picture plane and introduces multiple viewpoints within a single work, requiring the viewer to move around the piece in order to fully experience it.

I draw inspiration from anamorphic traditions and perceptual systems such as holography and lenticular imagery, where meaning shifts through position and movement. These influences allow my work to suggest layered realities and unstable forms of perception, where image and meaning are never singular or fixed.

Materially and conceptually, wood holds a central place in my practice. My use of wood-burning originates from witnessing Hindu funeral rituals, an experience that led me to reflect on transformation, impermanence, and the cyclical nature of life and death. In Hindu philosophy, death is understood not as an end but as a transition within an ongoing process of becoming. I translate this idea into my working method, where making and burning, formation and transformation, become part of a continuous cycle of creation.

The figures in my work are often timeless, genderless, and in states of motion or transformation, reflecting ideas of instability and change. Through these shifting forms, I reference narratives that appear across cultures, suggesting shared human structures of meaning and experience.

Ultimately, my practice seeks to create a space for reflection on identity, spirituality, and existence in a rapidly changing world. I see art as a way to slow perception, inviting viewers to reconsider their relationship to self, material, and the larger cycles of life and transformation.