Embroidery transforms the portrait into an act of time.
Every stitch is both a mark and a pause, a gesture that resists immediacy. The face slowly emerges through repetition, becoming less an image than a process of remembering. Identity is not drawn in a single movement but woven through patience, hesitation, and return.
Thread carries a different kind of line. It can knot, break, overlap, disappear beneath the surface before reappearing elsewhere. In this fragile continuity, the portrait becomes a living structure rather than a fixed representation.
These embroidered self-portraits inhabit the space between presence and absence. They do not attempt to define the self, but to reveal its constant transformation, where memory, body, and material become inseparable.
These works are stitched with black thread on white bed sheets using a sewing machine.
The white fabric carries traces of intimacy and everyday life, while the black thread interrupts its silence, drawing portraits that emerge through accumulation rather than precision. The sewing machine becomes a drawing instrument, replacing graphite with thread and speed with rhythm.
The contrast between black and white is never merely visual. It speaks of memory and oblivion, presence and disappearance, certainty and doubt. The bed sheet, once a witness to the private sphere, becomes a surface where personal identity is rewritten through gesture.
Every portrait remains suspended between image and textile, between what is revealed and what continues to remain hidden.
