I’m a multidisciplinary artist working with sculpture and installation to explore memory, trauma, and the fragile architecture of the mind. My practice began as a personal response to the experience of dementia within my family. Over time, it has developed into a broader investigation of how memory defines us, and what happens when it begins to unravel.

Central to my work is the act of hand-sculpting anatomical brains. I use materials like air-drying clay and expanding foam, and I avoid molds, each form is shaped by hand. This process reflects the unpredictability and uniqueness of memory. No two brains are ever the same, and the imperfections in each one become part of the story they tell.

Materiality is important to me. I often work with industrial or synthetic substances like copper piping, foam, or wire alongside more tactile, traditional sculptural materials. These contrasts create a tension between the organic and the artificial, echoing the way memory is both deeply human and biologically mechanical.

For my final installation, I’ve created a stage-like structure with three large foam brains elevated on copper poles. Behind them, fifteen more brains are arranged along the wall, slightly offset to suggest movement, dislocation, or distortion. The positioning and repetition evoke a sense of performance, pressure, and vulnerability as if the brains are being watched, exposed, or slipping away.

My work is intuitive, repetitive, and emotionally charged. I’m drawn to the idea of preserving what feels intangible. Through the physical act of making, I try to hold onto fragments of experience that are fading, distorting, or difficult to express. Ultimately, my practice is about the fear of forgetting, and the quiet power of remembering however messy, fragile, or abstract that process might be.