As an architect, artist, and researcher, I use exhibition-making as both a medium and process to critically examine and spatially negotiate histories, memories, and systems of representation. I see exhibitions not as neutral containers for content but as constructed environments that produce meaning often not considered. Through spatial organization, sequencing, and modes of display, exhibitions can become sites where knowledge is framed, contested, and experienced. My work begins with research-driven inquiry attentive to both material and immaterial conditions. This process often involves close readings of sites, institutional archives, planning documents, architectural typologies, oral histories, and cultural narratives. I do not treat research as a preliminary phase; instead, I consider it a continuous, generative process that evolves through spatial experimentation.
A central concern of my practice is the role of memory in shaping perceptions of space, architecture, and the broader environment. The cognitive space created by physical experiences shapes our making, which is often rooted in exhaustive reiteration and cyclical ideation in pursuit of a root or ontology of what makes a thing itself. This process shifts between abstraction and practical manifestation to shorten distances between thoughts and experiments that are conventionally disconnected. Process is central to my methodology; I develop installations through iterative cycles of testing, adjustment, and refinement, with spatial decisions shaped by ongoing research and critical reflection. I resist fixed conclusions, favoring open-ended structures that let meaning emerge through engagement. In this way, the projects function as a working framework that continuously develops the practice.
My work is realized through site-specific spatial installations that respond directly to institutional and architectural contexts; inquiry, negotiation, and dialogue are prioritized over resolution. Conceptually, my practice operates at the intersection of critical and speculative approaches. I use speculation as a grounded technique to explore alternative frameworks of place, governance, and cultural production. Speculation allows me to question dominant narratives while staying attentive to institutional realities and practical constraints. Through this balance, I aim to transform research into spatial propositions that are both reflective and actionable.
Ultimately, my projects and overall practice aim to reframe exhibitions as sites where memory, politics, and spatial interventions converge. By positioning process over product, I seek to offer visitors new ways to engage critically with their histories, realities, and futures.
