About

In my art practice, I examine the parallels between the loom and the computer. Cloth becomes analogous to the pixelated screen, and the loom—often considered the earliest proto-computer—translates code into material form. The complexity of weaving mirrors computer programming, positioning the weaver as a holder of encoded knowledge. The weave draft functions as a record of authorship and intellectual ownership. Through this framework, I explore the relationship between the loom, the weaver, and the cloth as an analog counterpoint to the computer, the coder, and the screen.

By translating historical techniques such as tapestry and overshot into contemporary contexts, I invite viewers to reflect on their relationship to technology, nature, time, and perception. Through weaving, my work considers how technological mediation continually reshapes our connection to the natural world.