I work with the afterlife of culturally circulated images, tracing what happens to the human figure as it migrates between cinema, photography, archives, digital networks, and painting. Rather than using drawing and painting as a device to recover an image’s original meaning, I subject already mediated bodies to another transformation, converting frictionless visual information into materially unstable objects. My figuration resist the contemporary demand that images remain immediately legible, classifiable, and consumable. In this sense, distortion functions not as expression but as interference: a means of preventing the body from resolving completely into information.