My practice explores the paradox of love, the tension between care and harm, attraction and danger, protection and violence. I am drawn to moments when intimacy reveals vulnerability, when closeness is inseparable from the possibility of being wounded. Rather than treating love as a purely nurturing force, I approach it as an unstable state in which exposure, desire, and risk coexist.

I work primarily with traditional black ink on printmaking paper. Within this material language, my paintings unfold through recurring imagery such as barbed wire and moths. These images function not as fixed symbols, but as relational forms that gain meaning through contact. The moth moves toward the flame, driven by instinct rather than reason, carrying a fragile yet relentless force. Its movement embodies a desire that persists despite the certainty of harm. Barbed wire, on the other hand, is not simply an instrument of violence. It is also shaped and marked through touch, bearing traces of contact as much as it inflicts wounds.

In my work, neither figure holds stable power. Instead, power shifts through proximity and encounter. Vulnerability itself becomes an active force—one that alters both bodies involved. I am interested in this shared tension, where harm and care cannot be easily separated, and where love is experienced not as safety, but as exposure.

Through painting and writing, I give form to love as a state of mutual intensity—one shaped by closeness, friction, and the willingness to remain open despite the risk of being hurt.