In the centre of my practice are women.

As they move through time and places I grasp their image to create a space for them to reappear.

Women that I am exceedingly drawn to often happen to be nomads, lone female venturers, visitants. Again and again, they come as half blurred memories, passers-by from the moment in time.

I claim their image, I make them stay, I found the memorial.

I inquire into the aesthetics of absence, hauntology, and nostalgia.

I look at the dress as the memory of the absent. Dresses, that I consider to be the ultimate female garments, form their own visual language -- the feminine sartorial language that speaks of identity, empowerment, and allure. In the absence of the wearer, the dress speaks of non appearance. In the absence of the wearer, the dress forms the only portrait that remains.

My work has an intermediary power between entities: past and present, photography and painting. The protagonists, ancestresses’ that I portray I uncover in archival photos that I collect. They entice me from the past with their mystery and untold stories, yet all I am left with is an orphan image. Through painting I archive my collection. My paintings however, unlike the source photographs, are not the items of evidence. They don’t freeze time, they recycle it over. They remind and evoke the sense of loss.

As an artist I also fulfil the role of an archivist, the bearer of the past that holds the key to the future.