Her newest series, “Landscape of Pli” is a process of exploring the hidden truth which is Seeing the Unseen, Hearing the Unspoken, but also a spiritual journey of discover oneself at the end who knows nothing like Socrates said. To explore this, her work begins from the concept of ‘wrinkles’ (hereinafter referred to as ‘Pli’) often mentioned by Gilles Deleuze, a post-structuralism philosopher who explored the metaphysical relationship between ‘identity’ and ‘difference’.

Driven by the desire to contextualize this concept of ‘Pli’, she uses the fragments obtained from deconstructing her figurative paintings to create art that reinvents narrative and redefines meaning. For this, the collage technique was used dynamically and colorfully, and through the use of juxtaposition, she tried to expose the beauty in chaos. This Landscape is created by fragments of various shapes extracted from the original are placed in reverse front and back, the inside and outside are flipped, and the visible becomes invisible. 

Many Plis, stacked on top of each other, are irregularly warped, jagged and connected layer by layer. This multi-layered landscape is filled with ambiguous images of fragmented memories or senses, sometimes appearing like a thousand-year-old plateau where layers of time have been piled up.

To complete the psychological landscape of the abyss, dynamic energy is injected here through the careful use of saturated technicolor elements. Images that have absorbed color finally seem to come alive across the layers, then emerge as an illusion, and then suddenly lose their shape due to different layers or play as a different image than before. But they don’t come together to create a single narrative.

Through this approach, she want to show a journey in which images of multiplicity are connected to each other and repeat explications and implications creating another difference, and then re-creating themselves as something new. Above all, every image that completes the “Landscape of Pli” is as fluid like water, allowing for multiple interpretations, inviting viewers to peel back the many layers and will help them to discover the wise man’s wisdom underneath in the end : 

**_“I know that I know nothing.”_**

PLI029

Everywhere but the Now 

Shift 

Repose

Vacuum Yoga

40x40cm
Mixed media, giclee, Acrylic, oil, pastels, spray paint on canvas.

Portrait 907.2021

'It is dark, it is ancient, and it is deep’

My primary interest is the potentiality of objects— and the physical or psychological state changes that take place inside and around us at any given moment.
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My recent work focuses on a challenge to create figurative paintings which defy a conventional representation of the body and present an alternative that is much more about our conscious and unconscious experience of being in the world.

This embodiment references the relationship between our own physicality and our cerebral, societal and imaginative life, foregrounding altered states such as dreaming. It’s very important to me to contrast this intangible scenario with our inevitable, visceral experience of the world.

My compositions focus on the human form, often unrecognizable as if affected by the skewed and invisible forces of contemporary physics, revealing the lack of certainty in what we perceive as conventionally reliable spaces and interrelations of objects.

The body-subject is therefore present in my works in parallel with a quest to see the space of nothing.
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Code Red Series No.04

'The roots' series

COMOCOPIA

Quantum entanglement describes the way particles affect one another regardless of spatial location, meaning that they are interconnected and entangled with one another. This theory proves that our thoughts, feelings and actions affect one another regardless of if we’re on opposite ends of the earth or if we’re even aware of this fact. This series works through visualizing the path of entanglement that connects us all.

Entanglement I

This is the painting that started it all. The dual figures symbolize the dichotomy within myself: one embodies the scholarly realms of Economics and Mathematics, portrayed in black and yellow hues from my college days, while the other radiates with vibrant creativity, representing my audacious plunge into the realm of art – a journey untaken with any hesitations.
  
  

Latest work, a bit of a departure from my norm.

Besetting Humanity At Every Turn

Artist Statement // Grosse Fuge (2023)

  
Oil, wax, ink, powder and skin – my paintings are made of these as I stich and press pigments together into some facsimile of sensation. Through them, I contend with the interplay between detachment and power through the displacement of bodily forms.

  
On 23 May 1618, a group of Bohemian Protestants led by Count Jindřich Matyáš Thurn-Valsassina threw two Catholic governors and their secretary out of a top-floor window of Prague Castle, becoming the unlikely flash point that set off the Thirty Years’ War. Of course, we sit in a different point in history today with rather different circumstances, and history should be taken for a cautionary tale more than prophesy. Yet the rhythms of turmoil and conflict remain familiar and resonate in us still – so it does in Ruben’s _Consequences of War_, as it does in Beethoven’s _Grosse Fuge_. 

  
My disquiet arises thusly in my paintings of disembodied limbs that I whip into a frenzy of vibrant colors and abstracted movements. Their great grasping hands are extensions of my subjective sensations of grip, hold, compression and connectivity. But, the language of their grip is universal in that we understand what it is to grasp, push, and to bear. Their forms coagulate into recognizable shapes in places and fall apart in others, suggesting their ambiguous detachment from a greater whole. A deeper read reveals the presence of other bodily bits – the brain, a vagina, a sphenoid bone – that are themselves wells of physiological mysteries and primordial myth.

Cogito Ergo Sum

ecstatic

Eye Mess

Ambivalence 

This painting is part of the “Passione Latina” collection: a tale of bold adolescence in the Italian province in the late 1990s made of dreams, delusions and fascinating discoveries.

The collection through iconic elements and symbols guides the viewer on a journey made of fragments of memories, building a bridge between past and present, between youth and maturity.

Lite motive of the collection is the representation of distorted and altered subjects, creating a visual world that captures the ephemeral changing nature of memories themselves.

Faster

An Ode to Hercules

In reference to racial profiling and prejudices

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