My art is made of recycled materials, heavy with history and (lost) meaning even before they go through my process of processing, refining them. The unique qualities and backstories of each material not only create layers visually and aesthetically but also contribute to the ideas and narratives I present. 

The central concept in my work is what I call Postfuturism (not related to film history): the phenomena where our collective view of the future has drastically shifted from positive and hopeful to an increasingly dystopian and grim one.

While human scientific and technological advancements are fulfilling and surpassing the Sci-Fi dreams of the past, escalating climate disasters, wars and economic draining of the working and middle classes leave us confused. ”The future isn’t happening - but soon you can live for 200 years?”. Psychologists don’t know how to help the inflating amounts of people with future dread, because the source of their emotional suffering isn’t just in their head. The younger generations feel robbed of the opportunities their ancestors had. 

Navigating mental illness always involved differentiating between environmental factors and that which comes from within, and because the mental health industry is just that - an industry that profits off its customers, the mentally unwell - now more than ever is the time to question our insanity and express our thoughts and feeling which is where art comes back into the picture. Notoriously one of the most effective forms of therapy, we need genuine, honest and emotional art now more than ever. 

My installations celebrates the healing properties of making through repetition and allowing fluctuating degrees of precision, thus performing as an act of disclosing the artist’s own healing journey and becoming an abstracted guide through the socioeconomical, geopolitical and personal causes for the unease that permeates my work.

My solo show at Galleri Mejan, "Where The Living Envy The Dead", is a total installation using recycled materials (mainly textiles and paper). 

There are two aesthetically contrasting areas separated by a path - a red, detail dense installation reminiscent of torn flesh and a black and white, modern city like installation lit with UV light. 

The ceiling is lowered by draping textiles on thin lines above the visitors, crocheted celestial bodies creating a childlike imitation of the sky at night. The walls are unevenly painted, solid black in some places and finger painted buildings in others.