PAINTINGS
Inspired by the minimalist yet profound black-and-white line paintings of Eduardo Chillida, I immersed myself in the exploration of lines and their transformative potential. This journey led me to fully embrace the magic of lines, searching for their hidden possibilities. Over time, I became fascinated with integrating the concept of grids—an essential architectural element—using them not only as a structural framework but also as a tool to generate and emphasize voids. My work reflects the tension between form and emptiness, forging a dynamic balance between simplicity and complexity.
FRAGMENT 446
These works were made in January 2026, in the immediate aftermath of violent protests in Iran and the escalation of conflict that followed. Rather than depicting events directly, they operate as compressed records of a moment in which language, visibility, and structure were under strain. Fragments of dictionary pages—words such as tyranny, war, public, oppression, riot, and uprise—are layered, obscured, and partially erased.
LAST LETTER
This series began with the last handwritten page of the artist’s father before Alzheimer’s disease took away his ability to remember, write, and eventually recognize. In that note, he wrote: “I write this note so that I may keep this document forever as a keepsake, and it will forever remain in my memory.” The sentence became the conceptual and emotional ignition of the project — a tragic contradiction between the human desire to preserve memory and the irreversible reality of forgetting.
BLUE
This series emerged from repeated experiments with palette-knife gestures, layered blue acrylic surfaces, and folded linear structures. Eschewing text, archive, and recognizable imagery, the works investigate compression, repetition, accumulation, and fluid movement. Thick, dragged paint builds tactile planes that read like woven surfaces, shifting currents, delicate membranes, or fragmented architectural systems. The interplay of gestural drag and folded geometry produces a constant oscillation between organic flow and measured control.
FORM IN MOTION
This short series grew from open experimentation with a Japanese pen, investigating how gesture, movement, rhythm, and form interrelate. Shifting away from text-based and narrative approaches, the drawings became a space for intuitive exploration, where marks evolve through repetition, pressure, interruption, and continuous motion.
LATTICE OF LAYERS
The series unfolds through the superimposition of two distinct grid systems. The first, drawn in pencil, establishes a structural foundation whose scale, rhythm, and placement are intentionally varied. This controlled instability creates the ground for dialogue rather than uniformity. Onto this base, a second, deconstructed grid is introduced with acrylic markers, fractured and reconfigured through shifts, ruptures, and overlaps.
BETWEEN PLANES
Between Planes began with a new set of deformed grids, each exploring variations in scale, rhythm, and structure. One day, this investigation naturally evolved as I started to take it to another layer—literally—by layering transparent sheets over normal paper. As the sheets were stacked, the individual elements began to interact, intersect, and complete one another, creating emergent forms that were not present on any single layer.
UNROLLED
"UNROLLED" marks a brief yet significant phase in my creative process, where I momentarily paused work on Anatomy of Voids due to time limitations.
ANATOMY OF VOIDS
“Anatomy of Voids” is the driving force and central protagonist of my ongoing art project. This phase represents a significant moment in my creative journey, where the dominant power of lines merges with the exploration of deformed grids.
SYNCHRONY
“SYNCHRONY “is an exploration of coexistence, simultaneous flows, and fluidity, all in one cohesive form. It seeks to merge fluid, organic motions with an underlying structural logic, creating a dialogue between the two.
MAGIC OF LINES
“Magic of Lines” marks the start of my exploration into black-and-white linear paintings. This period captures my early fascination with the freedom of lines and their bold presence on white paper. It was the most liberated phase of my work, where I allowed the lines to lead me to various, unforeseen outcomes.
EARLY GRIDS
“Early Grids”is a thoughtfully curated collection of initial explorations into the vast possibilities of grids. This series aims to deeply understand just how far these structures can be pushed to create, define, and transform voids in 2D format.
THIN AIR
"Thin Air" represents a more experimental chapter in my artistic journey. The discovery of the Japanese brush brought a newfound unpredictability to my work, introducing fluid, uncertain strokes that I found both liberating and intriguing.