The ink drawings in the series Black Ink, Red Ink (2026) draw upon a collection assembled over many years: personal documentation, found photographs, international magazines, and illustrated books form the source material. Through fragmentation and deliberate shifts in context, ambiguous visual worlds emerge that oscillate between documentation and artistic narrative. Black Ink, Red Ink intentionally avoids work titles, thereby reflecting on the fragility of visual certainties and insisting on the legitimacy of multiple readings.