As an artist, I am focused on making artworks that investigate issues surrounding gender, body and identity. I analyze these subjects taking a surrealist approach and using visual language encountered in everyday life.

Among contemporary artists, it is common, as a method of deconstruction, to disassemble the sign value of images, which are witnesses of the world, or of a shared history, and which have a use value (inherent in their indeterminacy), and which, through the process of being deconstructed, can suspend the protocols of sign-reading in the context of a society “that operates through consumption of signs, a process that is getting faster and faster all the time,” according to Ranciere. Collage, which is perhaps the most common method for implementing this approach, is the basis of my work.

I collect images from posters, fashion magazines, and brochures distributed in shopping centers and residences – particularly images that we are used to seeing in everyday life – and destroy the integrity of the language of power adhering in their symbolism by fragmenting them. Reconstructing the resulting fragments reveals issues that emerge in unique ways, through the lens of my personal perspective: gender roles, body politics, capitalism, urban regeneration, identity conflicts, existential crisis, female instincts, fantasies, repressed feelings. Through the act of deconstruction, which is as much political as it is aesthetic, I demolish the visual language that has been established on top of a political regime and its ideology so as, in the lines of the poet, “to make the language say what it can’t say.”

My work does not represent a linear progression of development/transformation. None of my artworks precedes another or hides meaning behind what has come before it. With this in mind, the viewer doesn’t have to interpret a work based on anything beyond its actual context or through comparison to other works. Each will feel like a new and different encounter, moving the viewer from painting to collage, to video, or performance, and finally back to painting. Although my practice may appear to have undergone a process beginning with painting and returning back to painting, it has matured in different disciplines simultaneously. Whether I am painting or working in a different discipline altogether, I always feel that I am moving closer to self-actualization. I become complete through the process of making art, by nourishing myself – thinking, searching, focusing, and self-reforming. These processes blend into and complement each other. Whether painting or crafting an object, a video or performance, I consider everything in relation to what is the other, what is alien, to bring together elements and ideas which are foreign, and to create associations which could not have existed before.