Statement:

My work is influenced by the exploratory coalescence of Art, Science and Spirituality. Studio production abstracts scientific and diagnostic strategies when conducting introspective experimentation, centralized around my deceased grandmother’s ancestral home. This space; where I live/work activates cultural analysis in relation to the ‘specimen’. Housing objects of investigation metaphysically linked to my Japanese heritage. Enigmas encountered during domestic excavations of displaced memorabilia, initiate intrigue towards former dwelling ghostly-bodies and their residual earthly possessions. Cultural objects are converted into cultural-specimens via tactile methods of dissection, modification, reanimation and preservation. Each chronological phase assimilates fragmented lineage, pertaining to the-self/examiner. Genealogical gaps unveiled among sequestered archives, constitutes a focus on tangibility, transience and liminal mortality.

Systematic installation subsequently reinstates specimen-hybrids within a network of refurbished Japanese display cases/cabinets. Transformed into incubation machines, to revive the objects originally stored within them. Each specimen/container is then taxonomically collected and labelled, corresponding to a counterpart analogue textbook. Operating as a laboratory record by transcribing evolutionary-variants and observational-data. Its didactic formatting re-establishes works through biostatistical documentation, illustrating investigative intent for each preserved subject. Museology informs the cultural extraction and rehabilitation of relics, utilizing assemblage to cease erasure and reclaim displaced artifacts. This circulatory exhibition transmutes life and death; conjuring ethereal perceptivity to restore ethnological DNA. Implications of relinquished language oppose western classification and constructs a historical discourse within my present-day work. The rectification of silenced-bodies relies on each works’ bio-memetic materiality; to unify the premise of restoration across multi-dimensional platforms. Synthetic, found, organic and spectral objects evoke vital symbolism within my habitual practice. I navigate transgenerational epigenetics and hauntological ontology by anthropomorphizing the realm of loss.

Materials: 
Silicone, Tubes, Wire, String, Inherited cultural objects (altered), Archival photos/Scripture, Medical/Government docs, Latex, Plastic, Metal, Mylar, Wood, Specimen Jars/Glassware, Curtains, Traditional Japanese display cases (altered), Plaster, Acrylic/Oil paint &medium, Tags/text, Encaustic wax, Medical objects, Dissection equipment, Resin, Hardware/tools, Bones/Skulls, Insects, Nylon, Stuffing, Metal grates, Petri dishes, Agar, Gelatin, Borax crystals, Traditional dishware, Preservative liquid, Fabric, The departed’s clothing, Cabinets (filing/china), Hair/Skin/Nails, Fabrics, Rice, Fungi, Rice paper, Canvas, Didactic labels, Sewing thread, Wall phones, Clay, Relics/Heirlooms (altered) etc.
Dimensions: 108” x 80” x 90”

Warm Bodies, Ghostly Specimens, Stoic Machines | Installation

The Adventures of Tintin is a series of cartoons created by Belgian cartoonist Georges Remi. Kim received a letter from his girlfriend and the illustration of the letter was the Adventures of Tintin. Kim was inspired by the image, and decided to make this work.

The foreground is filled with explosions expressed with oil stick and oil pastel, along with smoke expressed with oil. The middle view shows a falling plane(Tintin) and the far view shows pink liquid that already seems to have exploded.

Tintin and Bang!, 2021, oil, oil stick, and oil pastel on canvas, 63.85 x 51.3 inches

The series is called "A Piece of the Pie" and consists of more than 50 works.
Through their cartographic and biomorphic references, the works point to the discrepancy between the natural and the constructed space.  The name of the series originates in the dialectic of the conquest of territory, especially the remains of the colonialist fight for influence where everyone tried to get a piece of the pie. The pieces are always fragments of an unknown lost whole. The works are mounted on the wall (similar to trophy heads of animals) and their relation to the space around them is intricate. At times, the edges of the works follow natural formations similar to physical geography and at others, they halt abruptly like randomly assorted international borders. 
The individual pieces of the series are connected by their experimental quality and their material nature to form a complete unit. However, they also operate as a stand-alone system. The materials and textures highlight the interaction between different systems, analogous to our world and its diverse ecosystems.

A Piece of the Pie

2020 - Coloured pencil on paper

In this series, I combine real life proportions with a stylised drawing approach, exploring an intense, fleshy red colour palette and elements of the present-day. This allows me to transform the traditions of classical art present in my work into ambiguous narratives of modern life. Keeping naturalistic proportions and cinematographic compositions reminds the viewer of real life, yet the carefully chosen styling and colour creates a new world. My characters have complete freedom of expression and the viewer may question whether they are seeing something that truly exists or works of fiction.

Cherrie I, II, III

**BYCATCH**

  
2022, A collaboration of Abie Franklin and Daniel Hölzl

  
The installation BYCATCH, by the Berlin-based artists Abie Franklin and Daniel Hölzl, investigates permeable borders between human and non-human agents. Intertwined natural phenomena like pollution, shifting landmasses and the rise of the sea level juxtapose human-made strategies of defence and (self-) destruction. The hybrid landscape offers participants an immersive experience while reflecting: what is a soft, hard or porous border? How can those boundaries be crossed, relocated or removed? And what bycatch are we willing to accept in the process?

BYCATCH

Stormy Weather

PRAHIARD

"Tyler Pierré"

Ester

I went with the birds. They have wings and I need a new heart.

A cozy local butcher shop exudes warmth with its inviting atmosphere. The air is rich with the scent of freshly cut meat. Behind the counter, skilled butchers expertly handle a diverse selection of locally sourced cuts, showcasing their commitment to quality. The display boasts prime beef, succulent pork, and flavorful poultry. Personalized service and a community-friendly vibe make it a cherished hub where neighbors gather for expert advice and the finest, freshest meats. A true gem, blending tradition with a commitment to supporting local farms.

The Butcher Shop

Davids Fruit

Circus Night

a set of art works where the art objects resamble children's toys

PLAYROOM

Touch, Life, Self-Movement, Balance, Smell, Taste, Temperature, Hearing, Language, Thought, Ego

El Boxeador

It's a series that explore words and it's significant precariousness, a letter that changes as if in a distortion of meanings.

Decidere, decedere

A fragment of pleasure.

Polly’s Playhouse

  
  
During winter vacation, my mother visited Lahore and spent three months in my studio, collaborating on numerous paintings. Here, she expressed her thoughts on dyed cotton, using a sign language reminiscent of her experiences in childhood. After a long time spent together in the studio, my mother shared many inside stories of her journey from Afghanistan when the Soviet Union invaded. They became refugees, spending time in refugee camps. This series of paintings reflects that era, depicting simple huts, zigzag lines, and more, encapsulating the essence of those times.

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