Born in family of artists, I have a miniscule gap between art and life. My works are evidence of exploration, a commentary on art, contemporary life by combining images and forms to construct on human reality. Our socio-politically fragmented society is saturated with opulence of images, which signify ideas of radical modernist utopia. As an archivist of the new world, processing these images and forms has its origin based in experiences, which leads to the relationship between our sense of philosophies, self and world. I’m interested in how meaning is created. My paintings deal with subjects that carry a historical set of references, but collective memory is constantly challenged by enigmatic prophetic actions, concealed in personal folds of the temporal linearity. The original source or elements from photographic motifs are patched together in new constellations of allegories thus the paintings have a sort of leaping structure of narratives within narratives, so at any point, narrative would infinitely reproduce itself.

I’m concerned in the associational nature of thinking itself and sometimes a deliberate act of misunderstanding that can become poetry, because then you have to imagine its elements like Foucault “Garden” where people/spaces have more layers of meaning or relationships to other places than the obvious…To create works that have an open-ended narrative and evoke the idea of exploring eternal subjects like existence, death, understanding different facets of philosophy. Crowd scenes have become a constant feature in my work, the systematic-chaos or chaotic-system of crowds from processions and rallies to battles and concerts. The high-octane energy and movement of large gatherings is a reminder, perhaps, of the potential of the crowd or organized mass. I am an observer from distant at humanity with deliberation to miniscule details.