I identify myself as an artist who tries to distinguish and highlight the boundaries (if any) between visual art and poetry. I regard exploration and experience to be important elements in my life, and I am trying to transform them into poetry through my artwork. Spontaneity and improvisation are also foundational to that. They foreground playfulness and authenticity as practice. I expand my interest in a variety of fields even though sometimes they seem to be contradictory or incohesive. Similarly, I adopt this idea in my art process which leads me to search for compositional solutions in a diversity of mediums such as video installation, film, printmaking, painting, fiber, fashion, performance, writing and photography. I am interested in transforming and evolving ideas from one medium to another as part of an exploration and discovery process.
Untitled, 2020, Video installation, 3-channel video projection on canvas/fiber
This work is still in progress. The coronavirus situation suspended me from continuing. I am interested in creating a video installation by using the video work "That was NOT a trip to downtown Chicago". It is a three-channel video projection on canvases or other fibers. The three videos will be projected and running on the space through the projection. I concentrate to create a more intense experience for the viewers through the three big projections running into the space. I am interested in making a reference and connection of moving images to painting through the use of triptychs.
Untitled, 2019, Video mapping projection on burlap, sound
This video installation is a mapping projection on burlap. The materiality of the fiber creates the possibility for the projection to come through. As a result, there are two projection of the same moving image. The installation, which also includes sound from the edited original video, is an experience of time for the audience that could walk in or around it. Ideas of existentialism, spirituality and freedom are reflected in this work and are reinforced from the water which is moving and remains stable at the same time.
Permission of, 2020, Video installation
In this video installation I experimented on editing on a video I shot from ocean water. The transformation of the image through the editing process created an abstract result. The projection on a very big scale is an opportunity for viewer to get witness of a specific experience. The idea of repetition, memory and spirituality give place to existential nostalgia that is explored through the experience of being within the space of these projected images.
Flows, 2019, Video mapping on dressing/room divider & video projections on wall
The work tries to identify the borders (by using bordered spaced images) between natural and urban environment, between personal and natural space. Moving images reflect flows of water (natural environment - stable camera) and flows of landscapes (shot from a vehicle - moving camera) projected upon a dressing/room divider. Flows of traffic observed from a private apartment (stable camera) are projected within the space of the installation as well as a moving picture of iced water in cycle shape (moving camera). Images of natural environment were framed in the same way contemporary societies of urban civilization frame products, buildings, lives.
Self-portrait with closed eyes, 2020, Installation in space with banners, screen-print on fabric, and heat-press on fabric, dimensions variable.
In this work I am interested in creating an installation that could potentially transform the space into a space for theater, performance, choreography even opera. The variations of the picture are a repetitive element that creates a rhythm which breaks the stative element of image and transforms it in a moving image. The representation on the image potentially communicates with the body of the viewer which is present within the transformation of space. The viewers is not passive in this process. They actively participate within the theatrical space and becomes part of the drama.
Self-portrait with closed eyes, 2019, Screen-print & heat-press on tote bags installed on wall, 15 x 16 in. each
I am motivated to create series of works with a variety of mediums under the umbrella of a specific idea. In this case the picture that was used in the previous work with hanging banners here was screen printed and heat pressed on tote bags in a deconstructed way. They are installed on the wall as a composition and are part of the space in the previous work. Here the allegory of sleep narrates the story by raising a questioning between innocence and commercialism.
Self-Portrait as Clothespin, 2019, Indian ink, acrylic, and inkjet print on drop cloth, 108 x 36 in.
How a clothespin changes its domestic usage to a symbol? How the change of its size could change its existence? This piece investigates the poetic aspect of a daily life object which form has been transformed, in the same way words are transformed from parts of daily communication to poetry. It does not represent an object of maintenance as it usually does but a signifier of pressure and grasping.
Self-Portrait as Clothespin, 2020, Screen-print on hoodie
Self-portrait as Fayum mummy portrait, 2019, Encaustic on birch plywood, 15 x 9 1/2 in.
Impressed by Fayum mummy portraits and their historical content, I was motivated to use encaustic technique to create a contemporary self-portrait that would work as a time bridge between ancient and present under the umbrella of Hellenistic identification of a society that assimilates the diversity of cultures.
It is all Greek to you!, 2019, Screen-print on canvas & writing, 18 x 10 in. each
The work investigates how the written letters of a foreign language could be evaluated as a visual element/composition by the viewer that could not understand it. The title is a joking part of an expression used in English language (it’s all Greek to me) for something not understandable. The word “me” deliberately changed to “you” and as a result the whole work raises questioning about the identity of foreigner/alien, who could be either the viewer towards to the original language or the original language toward to the viewers, or both.