A beam of light is projected from the mouth onto the reflective surface of a spoon, treating the oral cavity rather than the eyes as the site of cinematic occurrence. The interplay of the metal spoon, the corroded copper foil on the screen, and sound creates an almost alchemical, spectral atmosphere. Mountains are fragmented into disembodied pieces, forming a realm of fluidity, migration, and illusion.

Through painting, collage, transfer printing, and other methods, the artist transforms archival materials from research and travel notes into abstract visual language. These indirect media techniques themselves become a “temporally delayed” and “circuitous” mechanism of imagery.