My works from early 2000s onwards, produced in various media such as drawing, photography, video and installation, are built upon the concepts of memory, identity and space.

Collage, which constitutes the centre of my early works, takes the concept of memory as its prime component. It is the correlation of a particular time, in which the work was created, to the visual material that pertains to various processes.

Today, however, the eld upon which my work focuses is directly related to the concept of memory. Rather than being close-circuited and extraneous to social reality, this concept of memory constructs robust bonds with the social and the cultural. This relationship brings past and present to a confrontation and reconstructs the contemporary with the awareness of the moment.

We live in an age in which privacy evaporates where the social and the personal clash and where all that remains afterwards are witnesshood and stories. We tread paths between formal and informal, familiar yet not truly known. Everything we believe t be absolute within the present, bearing the echo of the past, is in constant ux and under constant threat – just like yesterday. The entirety of our personal memory bears the marks of an interval of time into which we’re hurled, under whose dominion we toil and along which we are dragged.

As Gramsci states, power and its hegemonic structure appear before us through governmental, military or direct political formations, as well as through forms and images. In this context, artistic production is also a form of resistance.

The art of today is an interdisciplinary eld, capable of reproduction through countless means and techniques. As such, I believe the purpose of art to beyond changing something – to steer clear of a modernist idealism and to mark / signify the invisible regarding the moment and the actual, no matter how variable. The reproduction, via metaphor and pastiche, of situation referred as such, makes it possible for the eventual “work” to touch the life of the “other”.