I explore the fragility of natural systems through materials that already carry traces of human intervention.
Working with surfaces such as glacier fleece — a fabric used to protect and simultaneously alter melting ice — I engage with landscapes that are no longer untouched, but continuously negotiated.

My practice moves between preservation and transformation.
The act of painting becomes a way of entering into dialogue with processes that exceed human control: erosion, melting, accumulation, disappearance.

Rather than depicting nature, I work within its conditions — using materials that have been exposed to a tension between care and intervention.
These surfaces hold memory: of protection, of change, of time passing gradually.

The resulting works exist in a state of quiet instability.
They resist fixed form, shifting between abstraction and landscape, presence and dissolution.

Through this, I ask:
what does it mean to preserve something that is already in the process of vanishing?