About my work

 

My recent body of work revolves around the collision of lived and imagined narratives. It’s an ongoing investigation of boundaries, relationships, and perceptions between the real and the speculative dimensional realm.

 

In recent years, I started using 3d modeling software to enhance my traditional working mode. While observing the digital and real-world convergence, I came to an awareness of the perceptual phenomena that distinguishes the virtual and physical universes.

 

In the virtual reality, on a computer’s monitor, we see objects in space without rigidly framed restrictions. The model's reference points on the monitor can change endlessly, and so does the viewer's relationship to them. On the contrary, the same computer-generated image transferred onto a physical support will be perceived as locked up. Our mind judges an object based on its context and background.

 

These observations led me to my ongoing research on fundamental perception theory, material processes, and techniques. How can these visual illusions relate, if at all, to my work? How can I practically incorporate the best of both worlds; the flexibility and ephemeral nature of the virtual and the permanent nature of physical?

 

The aesthetics of polygonal 3D wireframe configuration inspired me to use its ideography as a concept for the structural support and shape forming my works.          I employ mostly cotton and synthetic ropes and yarns, as a pliable medium through which I weave 2D patterns and forms that are both sculptural and painterly.

 

The traditional support as a physical background for the image – eliminated. This approach creates a frameless work, with dynamic free-floating forms that fully immerse in any environment making the entire space their canvas.