Till Now is my attempt to redefine what a canvas can hold not just ink or material, but

memory, fear, and the physicality of being here. By merging large‑scale abstract

sculpture with the sharp, deliberate language of linocut and mural work, I’m building a

space where fragility and force can coexist.

When I cut into a block or shape a form, I’m making marks that cannot be erased. That

permanence matters to me. It’s a way of grounding myself in a world where

everything is unsure. The physicality of carving the pressure, the resistance, the

repetition.

In my works I try to create a tension between harsh, black, carved lines and the

organic, flowing forms. My linocuts often begin with aggressive marks, but those

marks resolve into shapes that feel alive, and fluid. The wall murals extend this

language across the space, acting as connective tissue between the sculptures and

prints. Their bold black lines echo the carved marks of the linocuts, but on a scale

that shifts the viewer’s relationship to them. The murals pull the viewer through the

exhibition, creating a continuous visual thread that ties each piece to the next. They

transform the gallery itself into part of the work.

This exhibition is a record of my evolution as an artist up to this moment. It traces the

subjects I’ve avoided, the emotions I’ve carried since childhood, and the person I’m

still trying to become. Working at a large scale is not just an aesthetic choice As a

graduating class, we’re standing at the edge of something ending and something

beginning. There’s grief in the program ending, and pride that we completed it , and a

kind of collective vulnerability. Till Now holds all of that, the uncertainty, the urgency,

the desire to leave a mark before stepping into whatever comes next.