My practice is rooted in the application of redaction, recontextualization, and repetition. As a collector and interpreter of ephemeral images, fragmented text, and mundane objects, I conduct intimate investigations into the intricacies of memory, the nature of language, and the human propensity for meaning-making. Working at the intersections of printmaking, photography, book arts, and installation art, I consider how meaning abrades or accumulates; often through the practice of asemic writing and the recycling of found/famous images or text. My works are often about negative space – the spaces between things and around them, rather than the thing itself. I cut away. I leave areas blank. It is in this absence that content is created. I explore the value of unabashed derivation through the creation and reframing of works based on literature; expounding on poetry and prose, through prints which make use of text and image alike, building a typology from literary motifs only to collapse it and redistribute fragments into alternate frames of reference. In synthesizing recycled text and image, often with reliance on the intuitive or the random, I bear witness to the emergence of seemingly new work, whilst simultaneously encountering these art objects as indicative of a structuralist approach to human creativity. We cannot help but tell the same story and paint the same picture – again and again. We cannot help but make meaning. I cannot help but find it beautiful.