The work unfolds through sustained acts of attention and prolonged, repetitive contact with material surfaces shaped by time. Drawing functions as a primary mode, extended through processes including fresco-related stencils, abrasion, piercing and inscription, pyrography, sewing, and embroidery. Lines and marks emerge through pressure, resistance, and interruption, produced through constraint and duration rather than gesture or image.

Development occurs through accumulation rather than depiction. Impressions, incisions, and imprints gather into constellations. These are non-hierarchical configurations in which material, force, and time remain co-present. The constellations do not synthesise what they hold. Relations are placed without resolution, allowing tension to persist.

Through repeated return to related processes, attention remains focused on subtle shifts in material behaviour. The work evolves through variation rather than repetition, permitting changes in scale and intensity to emerge gradually over time. At stake is how art can register the continuity of prohibited violence as a structural condition, without reproducing the acts through which that violence is sustained.

Surfaces function as sensing fields that register erosion, passage, and repeated contact. Marks operate as residues rather than symbols. They index persistence rather than meaning. Prolonged engagement with architectural and urban surfaces informs this approach, understood as cultural structures that, like natural systems, carry layered histories, pressure, and ongoing transformation.

Structure is not compositional but conditional. Grids, coordinates, circles, and mapped fields establish tight constraints within which deviation, irregularity, and material response are allowed to occur. These deviations are not expressive choices but the result of forces that cannot be fully controlled. In this way, the work embeds principles of natural structure and unpredictability within constructed systems.