STATEMENT
My journey as an artist began during my academic career, where I discovered a passion for visualizing complex theories. Teaching concepts like the ‘Spiral of Silence’ theory—exploring how fear of isolation can silence individuals—led me to translate these ideas into visual representations for my students. This fusion of academic research and visual expression sparked my transition into the arts, where I now combine my background in communication, psychology, and sociology with my creative practice. I explore the psychological and cultural dimensions of human experience, investigating how art functions both within culture and as a deeply personal phenomenon.
At the heart of my practice is the belief that materials themselves possess agency. Objects and surfaces actively shape reality, aligning with the principles of new materialism, which suggests that meaning is co-constructed through both human perception and the inherent properties of materials. Whether I work with paint, beeswax, wood, paper, metal, or glass, the materials I choose play an integral role in the evolution of the work and contribute to its narrative.
Each piece begins with a conceptual seed, shaped by my research, intuition, and personal experience. The interaction between artist, material, object, and concept creates a dynamic process where the work unfolds its own meaning. This organic evolution mirrors my ongoing exploration of realism, abstraction, and surrealism, as I communicate my vision.
My practice is research-based, exploring the cultural, psychological, and social contexts in which my ideas circulate. I’m driven by questions of how art functions in society and serves as both a personal psychological journey and a collective cultural force. While conceptually grounded, I believe that art must resonate visually and emotionally. Form, texture, color, and pattern balance intellectual rigor with aesthetic pleasure, allowing meaning to unfold through their interplay, where concept and visual experience converge.
Ultimately, art is an ongoing conversation—one that evolves through form, texture, color, pattern, and space. Each work invites an active encounter between the viewer, the artist, and the material world, creating an experience that resonates intellectually, emotionally, and sensorially.
ON TESSELLATION
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It is easy to forget that art, throughout its history, has involved a mixture of the visceral and the intellectual. What changes through history is the specific balance between them. One may argue that early art sought more of a visceral experience, by contrast with contemporary art where more demand is placed on the intellect - think Mondrian, with his goal of reducing all of reality to vertical and horizontal lines.
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Origami Tessellations are geometric designs folded from a single sheet of paper, creating a repeating pattern of shapes from folded pleats and twists. I visualize and find the same geometrical art shapes in nature and manufactured environment on these geometrical patterns, and that is what I paint in my tessellation series. My tessellation series can be arguably placed in the intellectual category, although that intellectual experience can be accompanied by an equally strong and purely visceral one. That is what I aim for in my artworks.
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One may ask Why paint on tessellations?! The answer is somewhat philosophical. Without delving into the definition of art, in my opinion, art is nothing without rules. And rules are nothing but restrictions. It is precisely those restrictions that great artists have risen to challenge. "Challenge" does not mean eliminating the restrictions, but rather working within them. It is precisely the restrictions that demand creativity from the artist. I have found that the severe restrictions imposed by a tessellated surface encourage and demand more creativity on my part. In return, the final product is more than the sum of its parts - at least, one hopes.
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