In addition to the psychological effects of the environment on our behavior, my art process delves into the complex undercurrents of our intimate and collective interactions.
It calls upon an emotional framework as a construct to bring the viewer as a participant in this experience. The blurry boundary between perception and experience has always inspired me: I am interested in the randomness of crossovers in the senses (synesthesia) through art by imaging abstract visuals - similar to data maps - based on the subconscious and a drifting creative process.
My work recently engages also with human nature and any environment or element: it includes objects, plants, trees, or animals. Yet, we ignore and even hide the impact of their inwardness, mind, and personal capacity on the planet we share.
Through paintings, photos, or digital works, I build imaginary coded and abstract algorithms taking up mental, geographic, and collective data based on the various missing links with the nonhuman world and revealing these invisible interconnections.
Exploring forms and lines in my compositions, I imagine disaggregated cartographies that reveal our social tensions and the invisible connections with the nonhuman world instead of addresses and landmarks.
I seek to constantly perfect this technique and renew my process of psychogeography mapping. Artworks address broader mental architecture within me to examine contradiction and harmony inside these new interconnections.
The titles I create for each artwork are the final result of this tracking by creating a new language, a universal language with objects, animals, or elements around us.
Abstract keeps me focused on a quest for unlimited and unknown psychological territories as a springboard for the imagination.
