Fishing for the Moon is a meditation on the elusive nature of home. Made from discarded cardboard used in furniture packaging, the installation captures the disorientation, stress, and impermanence of moving in and out—never fully settling. Cardboard, a material tied to both protection and disposability, reflects the fragile attempts to construct comfort in transitory spaces.

The title references the poetic image of trying to grasp the moon’s reflection in water: as soon as you reach for it, it disappears. In the same way, the idea of “home” remains just out of reach—longed for, momentarily glimpsed, but never fixed. This project gives form to that longing, building a space that is always in the process of being unbuilt.

This work uses image transfers of FaceTime screenshots as its background, all without a visible person in the frame. Over these empty interfaces, fragments of patterned clothing appear as if mid-change, suggesting an attempt to adjust one’s appearance for the screen.

The absence of a visible viewer creates uncertainty. The other person may be watching, may be present but off-screen, or may not be looking at all. The work reflects how online communication enforces self-presentation even without confirmation, turning intimacy into a quiet, unreciprocated performance.

This painting is based on a construction-site sewer access opening, a structure meant to remain hidden and purely functional. The central circular form echoes the manhole, while branching white lines interrupt it like a sudden arrival or message.

Titled Annunciation, the work reimagines revelation as something that emerges from below ground rather than descending from above. Infrastructure becomes a site of exposure and possibility, where systems of order momentarily loosen and allow transformation to surface.

This depicts plants and animals existing alongside a structure that symbolizes human construction, casting an immense shadow that limits approach and growth. Rather than depicting collapse directly, the image lingers on proximity, scale, and quiet exclusion. The print reflects my ongoing interest in how systems assert presence not only through force, but through shadow, repetition, and silence.

(Ancient wild type plants domesticated by industrialized kitchenware)

(Ancient wild type plants fight in a battle with GMO corn, and are trapped to a cliff)