My work sometimes begins from a line of thought, and other times from an image. I like archiving, so I constantly collect images, texts, and small observations from daily life. Anything that catches my eye becomes material. When these fragments suddenly connect, the process naturally moves on to sketches, models, technical drawings, and 3D modeling.

I don’t follow a strict routine. Since finishing an exhibition recently, I’ve been spending more time planning new work at my desk. I usually turn on a playlist, dim the lights, and pick up where I left off. Most of my time goes into research, sketching, and organizing texts that eventually develop into physical work.

Materials are not just means to an end—they help me visualize ideas and discover new directions. Since I studied Woodcraft and Furniture Design, wood feels familiar and intuitive. But I approach materials openly, choosing different ones depending on each project’s tone and needs.

I mainly work with wood and metal, emphasizing the physical traces left during the making process. Surface treatments like ebonizing, wood carving, and the Black-C technique allow time itself to accumulate on the surface, revealing the gestures behind the work. The focus is on the material’s responsiveness created through direct interaction between the material and action.