My practice originates from my engagement with materials and tools during the process of making. The sounds in my work emerge from labor and its surrounding environment — the plucking of guitar strings, the crack of stone being struck apart, or the rhythmic pulse of a nail gun fastening wood. These sounds form the formal foundation of my sculptural practice; I seek to capture the sounds that arise naturally within these lived processes and transform them into works.

By extending the traditional understanding of sculpture's "visuality" and "materiality" into the auditory realm of "sound," the audience's reception of my work begins with listening, before expanding into the tactile and the visual. This reversal upends our habitual mode of encountering sculpture. Through sound, I give form to the "temporality of sculpture" — a response to my own condition of labor. I therefore choose to preserve sound within the finished work, so that viewers, in the act of looking, may sense through sound the accumulated traces of labor and the weight of time condensed within each piece.