When I was asked in university to paint the human figure using a live model, the academic assignment felt too restrictive. I wasn't interested in copying a conventional body; instead, I wanted to disobey that rule, experiment with matter, and find another kind of presence. I started melting plastic dolls, distorting them, and photographing them to use as my own unconventional models.

In my oil paintings, I explore that unsettling border. Through a warm palette and fluid, sculptural textures, I break down traditional anatomy to turn it into a visceral landscape. Eyes, folds, and limbs melt and hybridize together, transforming an ordinary mass-produced object into an eerie architecture of flesh that suspends the viewer between discomfort and fascination

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