Her practice draws from the logic of collage, code, and emotional debris, entangling disparate materials to simulate the texture of contemporary vertigo—at once diagnosing and participating in its spectacle.

She treats CGI as a philosophical instrument, the snapshot and screenshot as serious photography, writing as a love letter to epistemological ruins. Her project-based work is a container for pathos—both personal and systemic—rendered by cultural overproduction, semantic exhaustion, and the spectral inertia of geopolitical histories. She examines how memory and affect are mediated through interfaces, and how identity performs labour even in private, making the symptoms of failed universal modernity look like a kind of couture.