Artistic Processes of legal papers body of work
My current (2025-2026 ongoing) practice operates at the intersection of contemporary visual arts and rigorous artistic research, positioning the studio not merely as a production space, but as a laboratory for discovering alternative methodologies to comprehend the world. I am an interdisciplinary artist whose work resists the confinement of a single medium; instead, I approach creation through experimental material manipulation. Whether working with the meticulous fragmentation of mosaics, the fluidity of video, or the tactile presence of photography, the material itself serves as the primary vehicle for conceptual inquiry.
The driving vision behind my current body of work explores the concepts of structural memory, bureaucracy, and legal lineages. Lately, this investigation has manifested through the labor-intensive process of hand-papermaking, wherein I reclaim and recycle discarded, personal or historical court files. By breaking down these rigid legal documents and transforming them into expansive, tactile installations, I physically deconstruct the weight of institutional authority, bureaucracy. The resulting paper skins and structures form a new visual vocabulary—one that translates cold, bureaucratic archives into fragile, organic forms of human memory.
As an artist, I am deeply committed to the idea that physical materials carry embedded histories. My role is to disrupt, manipulate, and recontextualize these materials to uncover the hidden narratives beneath their surfaces. Through this studio-led methodology, my work invites viewers to question how societal structures are built, recorded, and ultimately dissolved. I seek to continually push the technical and conceptual boundaries of my processes, offering a research-driven perspective that bridges the gap between material substance and philosophical critique.