This body of work begins with drawing—gestural, intuitive, and flat. But the drawing is never the end point. Through the act of cutting, I fragment the image, turning lines into strands and gestures into threads. These pieces are then rearranged, reshaped, and reassembled into sculptural forms that suggest both collapse and structure, chaos and intention.

The transformation from two-dimensional mark to three-dimensional object invites reflection on how meaning shifts with context and how memory is re-formed each time we return to it. What begins as a drawing becomes a kind of material meditation on the fragility of language, the instability of structure, and the beauty in letting go of fixed forms.

Each sculpture is a record of its own undoing and reconstruction, revealing how the act of rearrangement can itself be a form of understanding. By deconstructing the original image, I explore the liminal space between planning and intuition, surface and depth, permanence and impermanence.