This imagery of a woven skin is my metaphor for the human molting cycle. Just as a snake sheds its skin, we are constantly casting off old versions of ourselves to adapt to new environments. The way the rigid, plotted pattern encases the softer, shifting gradient beneath it is my way of capturing that uncomfortable but necessary evolution,the perpetual rebuilding of our own identities.

My work on snake skin is an investigation into the friction between biological entropy and digital order. I begin with the application of acrylics. This hand-painted foundation is then confronted by the pen plotter, a mechanical intervention that translates the chaotic topography of reptilian scales into a rigid, woven syntax.This mechanical process transforms the underlying fluid colors into something that feels like a structured, almost armored textile, giving the surface a distinct, tactile relief.

To shed a skin is an act of violent adaptation, a necessary shedding of the past to survive a shifting environment. I view this cycle as a direct parallel to the human condition: the constant, often uncomfortable recalibration of the self to inhabit new spaces and states of being.