I create works that investigate how breaking and repair can reveal new possibilities of seeing and being. My practice spans photography, sculpture, and public art, unified by an innovative approach to using photographic images as raw material for three-dimensional objects and installations.
In my "Twice Broken Glass" series, I explore parallel acts of destruction by shattering one pane of glass through violent impact while precisely cutting another to mirror those breaks, then repairing both identically using traditional stained glass techniques. This process, drawing on Jewish ritual, reveals how we continually attempt to mend damage in the same ways, creating cycles that both heal and perpetuate harm. My photographic glass portraits extend this investigation: I ritualistically break printed images with a hammer, then force myself to sit with what remains—reconstructing new, stranger selves from what is broken beyond repair.
My public works scale these material investigations into monumental optical devices. "To Reflect Everything" is a scale recreation of the 1986 satellite Ajisai, which closely resembles a disco ball. Drawing on the disco ball's history as a symbol of queer sanctuary and transformation, the sculpture fractures viewers and environment alike through its reflective surfaces. The black gaps between panels embody queer spaces lost, creating dialogues between what we see, what reflects back, and how we understand ourselves within shared and public space.
Throughout my practice, I treat images as physical material rather than
documentation—something to be broken, manipulated, and reconstructed. This fracturing reflects how our lives and selves move in multiple directions, folding and unfolding. Some breaking creates entirely new forms rather than damaged versions of what came before. We carry scars of our past incarnations while becoming something stranger and more authentic.