Series
This Isn’t About the Shirt is a series of monoprints built around the repeated use of the same garment—an ordinary shirt that, through ink and pressure, becomes something more than fabric. There’s no fixed meaning here, no planned narrative. Each print is a moment of instinct, a response to how the material feels on the plate, how it pulls away, how it leaves a trace.
What began as just a satisfying texture became a quiet ritual—a way of listening to imagination before logic, of trusting the act of making without needing to explain it. It’s not about the shirt. It’s about the imprint it leaves behind.
A series of abstract paintings built through repeated, layered mark-making. Each work emerges through unplanned execution, operating within a state of disorientation rather than premeditated composition. Gestures are not resolved or erased, but retained, allowing earlier actions to remain active within the surface. Forms recur with variation, creating compositions shaped by persistence rather than singular events. Color, texture, and movement function as material facts, emphasizing accumulation over expression and result over moment.
Acrylic On Canvas
"Impulse Core" is a raw, instinctive series of abstract acrylic paintings made directly on reclaimed canvas. Created between late 2025 and early 2026, each piece channels impulsive emotion, distraction, and psychological tension into bold, unfiltered gestures. The series embraces immediacy, surrender, and the expressive power of letting go.
Acrylic On A3 Paper
"Untitled Behaviora" is a series of figurative abstract paintings exploring psychological states through instinctive gesture and repetition. Created with lowered control, the works translate emotion, impulse, and internal tension directly into form, allowing figures to emerge as unstable reflections of inner experience rather than fixed identities.
Mixed-Media On Canvas
A series of mixed-media paintings created and developed during my residency in Amman. This project reflects on the emotional and psychological states that accompany my daily routine—moments of anxiety, repetition, tension, and the quiet negotiations that unfold within one’s internal space.
During my residency time, I reached a personal turning point. I began to comprehend that a piece of art or a series does not necessarily require a dramatic or extraordinary subject to hold meaning. Any internal experience—pain, pressure, hesitation, or persistence—can be transformed into a visual form. As I reconnected with my authentic artistic voice over the past three years, I realized that the emotional weight I carry daily could itself become the core theme of the work. What feels difficult in life can become generative/valuable in art.
This period of reflection also opened the door to deeper questions about presence and existence. The emotional rhythms within my practice often lead me to examine who I am—as a person and as an artist—and how the act of making becomes a way of understanding my place within these experiences. Painting becomes not only a response to emotion, but also a way of tracing and recognizing myself.
Each piece in this series emerges from a process of layering, interruption, and reconstruction. I allow uncertainty and failure to remain visible, using bold gestures, and mixed-media techniques to reflect the shifting rhythms of thought. This exploration also led me to incorporate printmaking elements into my paintings, expanding the language of the work and embracing risk as part of the process.
These works do not illustrate one specific narrative; instead, they translate the invisible weight of daily experiences and emotions into a visual seen element. Together, they form a psychological landscape—one shaped by vulnerability, persistence, and the evolving tempo of the creative mind.
Mixed media on canvas · Geometric Abstraction
This series marks my first formal exploration of Geometric Abstraction, developed as part of my graduation project in December 2016. Drawing from photographs of reflections — in windows, floodwaters, and polished surfaces — I translated these fragmented, light-filled moments into layered compositions using paper tape, acrylics, oils, emulsions, alkyds, latex paints, and even Paris plaster bandages.
Each piece investigates the tension between structure and emotion, presence and memory. The sharp geometric divisions echo architectural frameworks, while the layered textures evoke the complexity of personal experience. At the time, I was reflecting on my own artistic journey — using the visual language of abstraction to process ideas of growth, identity, and transformation.
The project was both a technical breakthrough and a personal milestone. Several works from the series were acquired by the Norwegian Embassy, a meaningful early recognition of my practice and its potential resonance beyond its original context.
