MASHABAUR

These works began as studies of the body — its weight, its refusal to stay whole. Tulips arrived uninvited, the way memories do: flowers from another country, another childhood, pressed into the same paper as the figures. Graphite holds both. It can be polished into skin, or erased until almost nothing remains. The larger sheets are worked on the floor, at the scale of a body, over many sittings. What stays on the paper is not an image of a feeling but the residue of one — pressure, repetition, absence. The bodies dissolve. The flowers keep falling.