Curious with my fascination of the everyday life, the constructions that interrupt our daily movement and my fascination with what we term as ‘living in a window punctuated world’ I developed an interest in viewpoints, line and perspective. I feel these can be altered, constructed, de-constructed, confused and manipulated to constantly change and determine our visual experience. Interested in the skeletal structures of living places I take reference of spaces in their linear state while being constructed or deconstructed. These to me are spaces that can only be seen but not occupied, places that are to be lived in but not.
I like working with impermanent materials that I can manipulate from time to time. Therefore, narrowing down the right material to execute my work proved to be a problem as I found myself experimenting with a lot of materials. I have been working with tracing paper rolls which are drawn upon, carved into and then layered making a series of semi-translucent palimpsests. I have been experimenting with slide projectors making them a part of the drawings, most importantly for there redundant existence and ability to manipulate the visual content, as the bulb inside begins to bleach the slides. Moreover, it gives me less control over my work, which in my opinion is important to attain the natural yet, the re-constructed.
These images are documentation of an installation i did for my MA degree show at Central Saint Martins. i used tracing paper rolls which were drawn upon and bits of the drawings were cut. photographic images were projected onto these cut outs.
Curious with my fascination of the everyday life, the constructions that interrupt our daily movement and my fascination with what we term as ‘living in a window punctuated world’ I developed an interest in viewpoints, line and perspective. I feel these can be altered, constructed, de-constructed, confused and manipulated to constantly change and determine our visual experience. Interested in the skeletal structures of living places I take reference of spaces in their linear state while being constructed or deconstructed. These to me are spaces that can only be seen but not occupied, places that are to be lived in but not.
I like working with impermanent materials that I can manipulate from time to time. Therefore, narrowing down the right material to execute my work proved to be a problem as I found myself experimenting with a lot of materials. I have been working with tracing paper rolls which are drawn upon, carved into and then layered making a series of semi-translucent palimpsests. I have been experimenting with slide projectors making them a part of the drawings, most importantly for there redundant existence and ability to manipulate the visual content, as the bulb inside begins to bleach the slides. Moreover, it gives me less control over my work, which in my opinion is important to attain the natural yet, the re-constructed.
I came to London with a keen interest in the cityscape. I have since been working with subject matters that involve urban landscape, social politics and where art fits in for reasons I am still not fully aware of. Perhaps it is this void that lies between visual imagery and reason that makes me increasingly curious of the workings of my urban landscape. At the moment I feel the most important part of my practice is the process that goes behind creating these visuals. Inspired by the idea of constant change and layering I often find myself playing with imagery as if playing with toys (or building blocks). By adding, subtracting and continually changing the form of my visuals, I enjoy creating various settings and dialogues.
