I became interested in design through a desire to create work that could exist more intimately within daily life. I was drawn to the idea that sculptural objects could shape emotional atmosphere and physical experience, not just be observed from a distance. That blurred boundary between art, object, and environment continues to guide my practice.

My process is rooted in meditation, repetition, and self-examination. Most works begin as an emotional or psychological condition that I can sense physically before I can fully articulate it intellectually. I’m influenced by the body, memory, architecture, textile traditions, and the tension between softness and restraint. The work develops slowly through touch and accumulation rather than through fixed plans.

Work is fluid and has its seasons, but I typically respond to emails, do administrative work, or prepare content for social media in the morning before I head to my studio to make things with my hands or simply sit sometimes. In some seasons, I take time to travel to gather more inspiration.

I choose materials that allow direct physical engagement and retain evidence of touch, pressure, and time. The material is never separate from the meaning of the work—it’s how the meaning is formed. I prefer to work with clay because it’s a material that follows the soul. It’s a highly conversational material without words. There’s an immediacy to it and a soothing, grounding aspect to touching Earth. Clay also captivates me because it needs to undergo a lot of transformation to arrive at its final form, which speaks to our human experience.

Recently I’ve also been exploring textiles and fiber because they hold a similar intimacy and rhythm of repetition while introducing a different softness and vulnerability.

I don’t feel fully aligned with any single movement, but the work probably exists closest to contemporary collectible design and sculptural minimalism. At the same time, I’m less interested in aesthetic categories than in creating objects that hold psychological and emotional presence. The work is ultimately more connected with internal states than formal style.

I’m drawn to designers whose work carries emotional restraint and material sensitivity. The work of Isamu Noguchi, Alexander Calder, and has been influential in different ways, particularly in how they approached form as something experiential and bodily rather than purely functional.

I appreciate contemporary designers who maintain a strong sense of material intimacy and emotional clarity in their work. I’m especially interested in practices that blur the boundaries between sculpture, furniture, and installation, where objects begin to function almost psychologically rather than purely practically. I admire Rogan Gregory and Voukenas Petrides.

I’m inspired by artists whose work feels deeply embodied, emotionally precise, and has a deep respect for craftsmanship: Do Ho Suh, Tuan Andrew Nguyen, Kennedy Yanko, James Turrell, Kawabata Kentaro.

Psychological self-portraits expressed through form, touch, and material tension.