‘My art contributes to the discussion on the intersection between biology and technology.’
The artist’s paintings intend to carry the audience through a poetic digital flow of emotional media hybrids. She deliberately visualises a scene or a set of characters, maintaining fragments of narratives. Abstract manipulations create a fusion between a painting-like and a computer-generated representation. She creates spaces with predetermined visions of omitted human tactility. In her paintings, a new civilisation might be paradoxically perceived as amorphic beings without any desire for consumption, freedom, joy, or balance. She explores a visual unawareness that has gradually been ushered in by the advent of the digital age.
The painting Our Bodies Are Filters is an abstract narrative that tends to assume an unfamiliar state of existence. With synaesthesia in mind, it has been created to stimulate the senses, to heat and cool, to change shape, and to create a sense of electric tensions. An intricate play of hide-and-seek is triggered by layers between multi-coloured and geometric structures. The viewer is immersed in the mesmerising exploration of an unresolved continuity in the virtual environment.
The lines, colours, shapes, and textures displayed in the canvas are derived from the artist’s daily encounters with ordinary objects. These mundane objects not only surround her, but they also define her by acting as an ever-encompassing mirror. It is not enough that these objects transcend and find their purpose for others. It is vital that they form a union and learn to co-exist. The nature of their true strength becomes clear once they dissolve into and unto one another. It is only then that they, too, learn their true purpose and that we, once again, rise and see ourselves reflected in their perfectly mirrored amalgamation.