Acculturation sits at the core of my practice—not as a subject, but as a condition. It’s the process of absorbing, resisting, and adapting to dominant systems while never fully dissolving into them. That tension shows up materially in the work: layers that compress rather than resolve, gestures that remain partially visible, and surfaces that hold multiple histories at once.
I approach it as a condition rather than a narrative. The paintings hold multiple systems at once—gesture, erasure, and control—without allowing one to dominate. That mirrors how cultural identity is negotiated rather than resolved.
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