My practice explores textile as a form of cartography; a way of mapping touch, memory, movement, and exchange through material and process. Through weaving, wrapping, paper, and sculptural forms, I investigate how identity and belonging are continuously shaped through encounters with people, places, and inherited gestures.

In response to Crafting Time: Cartographies of the Hand, the works emerge through repetitive acts of making that record time, labor, and transformation. Threads function both structurally and metaphorically: as lines of connection, pathways of migration, and traces of lived experience. Weaving becomes a language of relation, where separate fragments are held together through tension, rhythm, and interdependence.

The use of colors and gathered materials reflects an interest in how cloth absorbs and carries memory. Paper weaving further expands this idea by transforming fragile and archival materials into tactile structures that remain open, layered, and in flux.

Moving between textile and sculpture, the works extend beyond the wall into space through suspended forms, hanging cloth, wrapped structures, and woven surfaces. 

These installations behave like spatial drawings or shifting maps; tracing movement, accumulation, and connection rather than fixed boundaries. The hand remains central throughout the practice, not only as a tool of production, but as a vessel of knowledge, repetition, and care.

Rather than presenting textile as static craft, the works consider making as an ongoing process of translation and becoming — where materials, histories, and gestures continuously evolve through contact and exchange.