This body of work emerged before I had language for what I was carrying. It formed in the long aftermath of displacement, violence, rupture and ungroundedness. These works were made from fragments, outlines, omissions and unstable narratives. They do not describe events. They circle their absence.

Figures appear as traces rather than presences. Bodies are cut out, erased, masked, doubled or reduced to silhouettes. Pathways lead into cul-de-sacs that join one another in inescapable loops. Ladders rise without destination. Hybrids emerge. Monsters surface quietly. There are routes that cannot be exited and journeys that cannot properly begin.

Much of this work is built from found imagery, faint ruled paper, discarded notes, hand drawings, stamped symbols, ticks and crosses, and marks that are neither one nor the other. These symbols operate as tentative attempts at order. They hover in uncertainty. They record decisions that cannot be resolved.

Some works appear as contained worlds. Small scenes captured in jars, as though preserved as evidence. These are not trophies or archives in a conventional sense. They are souvenirs from a place that cannot be located. Proof of something that cannot be verified. A way of holding what cannot be safely carried in the body alone.

The atmosphere across these works is often whimsical and bleak at once. Play and dread sit side by side. Absurdity operates as shelter. The images do not aim for resolution. They make room for histories that could not yet be spoken, where coherence itself was unsafe.

Although these works precede my later ecological and material investigations, their logic persists. Already present here is a concern with containment and leakage, with bodies as unstable boundaries, with memory as spatial rather than narrative, with time as fractured and recursive.

After-No-Place marks the beginning of my sustained attention to what cannot be directly represented. It is where absence became a working material. It is where indirect language, oblique spatial logic and non-linear storytelling moved to the centre of my practice.

These works do not offer origin as clarity.

They hold origin as distortion, echo and residue.