People often ask how my work in science relates to my artistic practice. For me, these two worlds have never been separate. As a contemporary artist, I continue to work in science, and I see both as complementary ways of exploring complexity.
In my professional work, I analyse data, evaluate evidence, and contribute to the development of new therapies. It is a highly regulated environment where every step—from data collection to interpretation and reporting—is guided by rigorous standards, established methodologies, and ethical responsibility. Data quality, integrity, and reproducibility are essential, and conclusions must always be supported by robust evidence.
My studio practice is driven by the same curiosity and commitment to observation, but it unfolds within a very different framework. Here, uncertainty is not something to eliminate but something to explore. Instead of following predefined protocols, I allow materials to respond, evolve, and sometimes challenge my original intentions. The process is shaped by experimentation, intuition, and an ongoing dialogue between control and unpredictability.
Rather than existing in separate worlds, my work in science and my artistic practice continually inform one another. Science has taught me discipline, patience, and the value of careful observation. Art, in turn, offers a space where ambiguity can be embraced, where questions may remain open, and where discovery often emerges through the unexpected. Together, they form two complementary ways of investigating complexity—one grounded in evidence, the other in material exploration and lived experience.
This dialogue between structure and openness lies at the heart of my artistic practice. I am drawn to moments where systems begin to shift, where order gives way to complexity, and where fragility becomes a source of transformation rather than failure. Through painting, textiles, handmade papers, wool, and sculptural interventions, I investigate themes of connection, rupture, repair, adaptation, and resilience.
My process is deeply material-led. Rather than treating materials as passive supports, I see them as active collaborators. I work with acrylic, charcoal, oil pastels, textiles, wool, steel wire, and handmade papers such as Awagami and Lokta, allowing each material to behave according to its own properties. Stretching, stitching, layering, tearing, and reconstructing are not simply techniques—they are conversations with the material itself. A thread may pull a surface in an unexpected direction. A sheet of handmade paper may wrinkle or resist. These moments are not mistakes to be corrected but essential parts of the work, revealing the ongoing negotiation between intention and material behaviour.
In many ways, my studio is another place of research. Instead of testing hypotheses, I investigate relationships between materials, gestures, and space. Instead of seeking reproducible outcomes, I welcome unexpected discoveries. Each work becomes an exploration of balance—between intention and chance, control and unpredictability, construction and collapse.
This approach has gradually expanded my practice beyond painting into sculptural and site-responsive works. I am increasingly interested in how materials occupy space, how they respond to gravity and tension, and how softness and resistance can coexist. Whether working on canvas, paper, or installation, I return to the same questions: How do systems adapt? What remains after rupture? How can fragility become a source of strength?
Ultimately, both science and art begin with the same impulse: curiosity. They ask different questions and rely on different methods, yet both require careful observation, persistence, and a willingness to accept that every discovery opens the door to new questions.
This blog is an extension of that process. Here I will share the ideas, materials, experiments, and reflections that shape my practice—from the evolution of individual works and series to exhibitions, residencies, and the thinking behind them. I hope these writings offer a deeper understanding of my work and invite you into the ongoing dialogue between science and contemporary art that continues to inspire my practice.
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