My work as an artist centers on exploring ritual within the art practice. This includes drawing, painting, and performative actions. Through this way of making art, I seek
to understand how the quality of attention, presence, and intention—core elements of ritual—can transform the one who creates, and also leave an imprint on the resulting work.

I’m currently developing two bodies of work.

One is called The Given Place—a figurative drawing project that uses ritual to give
symbolic and archetypal space to relational figures. The premise is that this act of representation, when carried out within a ritual space, can affect the relationship
itself, becoming a form of nonverbal and subconscious communication.

The other project, All but Thoughts, is an abstract drawing series. In this case, I
ritualize my practice using breathing techniques, body awareness, and voicework, seeking a neutral and meditative state where images can emerge spontaneously and without intention. I like to think that the artist can serve as a conduit for a kind of inspiration that doesn’t come from thought. I see these images as imprints of the body in presence. Of course, the search for that neutral space is not always achieved—so the images may reflect internal dialogue or subconscious material, and that too becomes part of the truth of the method.

My work begins with the body—with ritual, breath, drawing, and presence. Ideas are
present, but they come from the act of making, not from theory. I’m interested in how
art can act as a symbolic tool for memory and transformation, both personal and
collective. For me, the work is born of the ritual, and ritual becomes a form of
embodied philosophy. My hope is that each piece invites others into their own reflection or recognition.

My path has been self-taught, shaped by practice, observation, and personal transformation. While my work doesn’t directly reference art history, it resonates with
artists who prioritize process, attention, and ritual—such as Hilma af Klint and Agnes
Martin. I see my practice in conversation with contemporary currents that explore the
somatic, the relational, the ritualistic, and the contemplative.

Although I spent more than two decades directing commercial animation, my artistic
practice began after a deep shift in priorities. At age 47, a new paradigm emerged,
and I began drawing from a different place—driven by an inner need for connection
and meaning.