My work takes a material designed to protect and be discarded, and transforms it through a structured process into images and forms that shift across multiple states. Using bubble wrap, a material associated with fragility, disposability, and casual interaction, I reassign its function by injecting paint into its individual cells, fixing it into a stable condition where it no longer serves as a protective layer, but becomes the object of preservation itself.In this reversal, a material intended to be handled and discarded is made permanent and untouchable, challenging how value is assigned and what is considered worthy of being preserved.

This single initiating act produces multiple interrelated works that hold different relationships to the same image. These outcomes vary in clarity and structure, creating conditions in which the image remains consistent while its perception shifts, altering how it is understood and remembered over time. This system does not simply reproduce an image, but generates distinct forms through which it is perceived. In this way, the work reflects how memory operates, not as a fixed record, but as something that is continually reconstructed, degraded, and reinterpreted over time.

The work engages a visual language built from units, points, dots, and pixels, linking historical systems such as pointillism and Ben-Day printing to contemporary digital imaging. Rather than referencing these traditions directly, the work operates within their logic. Images resolve at a distance and fragment up close, placing the viewer in a constant oscillation between recognition and abstraction. This condition produces a simultaneous experience that mirrors both realism and impressionism, not as historical styles, but as perceptual states expressed across related works that originate from the same initiating act.

This experience is intensified by the gap between digital and physical viewing. The work is often first encountered through screens, where scale, texture, and presence are flattened into a uniform image. In person, the image resolves fully on the eye, yet its construction remains visible. The viewer holds both conditions at once: a coherent image and the physical system that produces it. However, when viewed through a phone, even while standing in front of the work, the image collapses back into a mediated condition, where the material disappears and the work returns to a purely digital experience. For many viewers, the work exists primarily in this form, reinforcing the gap between reproduction and direct encounter. The work does not simply present an image, but exposes how images are constructed, perceived, and transformed through different modes of viewing.