For years, the human figure has been at the center of my work. Each piece starts with a loose, exploratory contour that helps me find the shape of the body. I work flat and use a wet-on-wet watercolor technique, letting the paint drift, pool, and mix on its own. As it dries, the paper holds onto these moments—frozen washes of color that give the drawings their texture and depth.

The body feels like a natural fit for my way of working. I often stretch, shift, or exaggerate the form to highlight weight, mass, and motion. Every line is made with black ink—no erasing, no undo—which means each mark is a decision I have to stand by. That’s become an important part of the process for me: making choices that stay visible, learning from them, and seeing how far I can take this approach—how much I can push both the figure and the technique.