In this essay I reflect on my practice through the lens of attention, proposing it not only as a tool but as a methodology, attention as method. It engages both with conceptual references and my personal experiences, it explores how attentiveness shapes thinking, sensing, and making within a spatial and sculptural practice that stems from painting. The attention is not limited only to materials and processes, but also what is hidden, contingent, or unresolved.

John Cage’s 4 '33 " that reframes silence not as absence but an invitation to listen has the ethos that resonates with what I explore in the text. Acts of failure, reconstruction and fragmentation become ways of working through and with uncertainty, allowing gestures and materials to guide the process.

It continues to reflect on the changed conditions of public space, how objects function as quiet disruptors, the subtle control embedded in hostile architecture, and how worn, obscure, or used materials can be carriers of narratives and invite a sustained engagement.

The text does not offer conclusions; it remains open-ended, focusing on process over outcome.