This body of work grew from my early years in the United States as a graduate student at the University of Florida, where I explored the relationship between bilingual typography, insect forms, and my evolving sense of place. Moving from a densely populated city to a small Florida town filled with unfamiliar sounds and creatures, I began seeing these natural elements as quiet dialogues between the environment and myself. Through bold collage constructions, layered with woodcut, etching, screenprint, and drawing, I experimented with how fragmented forms, textures, and typographic elements could echo this conversation.

​

Collage—combined with traditional printmaking techniques—became a crucial extension of my design practice. These tactile, analog methods allowed me to question and respond to gaps I had long felt in my previous computational work, giving form to ideas that digital tools alone could not articulate. Together, these processes helped me construct a visual language that merges intuition, material exploration, and the complexities of bilingual communication.