Scenes

I have always been drawn to the carnivalesque. In my early work, I explored the tension between narratives of fear, sex, and gore, and the dilemmas of illusion. At the core was a question: how could the canvas become a palpable, sensory experience that extended beyond the two-dimensional plane—into the fourth dimension of time—without collapsing into spectacle? To pursue this, my practice became deeply informed by the structures and language of narrative.