Predicted; demands the ambiguity of life, human versus nature.
When it is easy to predict the worst and know it is going to happen there comes our ethical and moral responsibility to seek ways to restore the balance that we have created to our nature.
Such a scheme becomes an overlapping of aesthetics and ethics.
It investigates reminisce of “wholeness” and what remains of our collective efforts in hope of finding wholeness.

“A land without identity is a land without gravity.” This composition defies the laws of gravity; the bullet hole cannot be created unless there is one solid entity for it to penetrate. An important religious teaching came to my mind as I was working on this piece: if you kill one soul it is as if you killed all of humanity; and if you save one soul it is as if you saved all of humanity

As the walls of this society diminish, hollow pockets reveal themselves and dominate the background. The debilitation awaits this lone cocoon to take it down into the carnage beneath. Once the disease spreads, every facet of the society is weakened until complete collapse. The debilitated walls of the society reveal all of the ugliness, weaknesses and fights within its factions.

They are looking from a height and they see the blue lagoon overflowing of colors out of the shallowness of no color to all colors: the color red spreads on the surface and fumes the clouds of death. The clouds like origami turn a page on the wall of the sky and become stuck asking: what is after death?

Morphing nature and digital manipulation these paintings unfold an intimate narrative between mother earth and her beings. An ephemeral blur of a still life digitally composed depicts a transformed landscape.

These paintings represent emotional ruptures they preserve traces of histories and momentums of actions and reactions between human and nature. The abstracted images have certain properties potentially violent; overflowing with fear and anxiety they embrace an imminent death as destiny.

Inspired by the Birth of Venus (Botticelli), unlike the ancient Goddess that emerged from the water on a shell; the Venus of Turmoil is carried away and pushed back by a wave no goddess waits on shore to cover her with a cloak all what is left is a scab, a wound that was left to cutify. The hope is that she will find a save shore where good spirits would be awaiting.

Often times I am inspired by natural phenomenon. I appropriate images from nature in my work symbolically to represent human actions and reactions. Inspired by blood falls in Antarctica; how does blood flow from a fall? For me it is nature way to mourn the unbalance that we are creating to our human nature and mother nature.

In this composition, the cocoon has a ghostly presence as it finds itself in a frail and debilitated environment, with other cocoons already part of the carnage that surrounds it. The space that surrounds the cocoon has been invaded by a disease that is eating away at its core structure, making it lack in density, strength and stability. Sectarianism, like osteoporosis, invades the structure of the society: its belief system; the backbone that connects our collective subconscious. This background represents societies that have been cursed with hatred; slowly eating away at its density and strength, and dooming it to a life of easily shattered limbs and hunched backs.

What remains is a scene of slow destruction with nothing for the cocoon to hold on to.

Inspired by Mahmoud Darwish’s poem from the Butterfly’s Burden: She left the cocoon and opened up her eyes before she spread her wings, only to see everything around her destroyed and shattered. Scared, she clung to her cocoon and tried to sweep the patches of earth around her with her wings without being far from her home. But the wings grew heavy and weary of the burden and she wished to return to the cocoon on another day of resurrection.