Concepts in my work emerge through my direct engagement with materials. I treat the painting surface like rice paper, oil canvas, wood panels, and watercolour paper all at once. With each painting, I seek to push the limits of my materials to find resistance, control, spontaneity, intricacy and gravitas, all on the same surface.

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Over the years, working with black ink and water-based mediums has allowed me to think about boundaries, agencies, and relationships. This focus led me to develop ‘pooling’, a painting method that involves working with large amounts of water, ink, and pigments on substrates over extended periods. This process draws from the traditional Chinese calligraphic brushwork, western watercolour techniques, and close observations of wetlands. These waterbodies fascinate me because they are never static; they shift constantly across surfaces, hosting living organisms in a way that is messy, wild, and chaotic. I am interested in how contingency, unpredictability, and vulnerability become sites of encounter where things we can't quite put into words can find its place.