Every work begins with structure. The structure is built before anything else, and it determines what follows: what carries weight, where attention moves, how relations hold across a surface or across a room.

These structures organise tension, dependency, power, and emotional weight. What appears balanced at first reveals instability under sustained attention.

Time operates differently in each medium. In painting, several temporalities occupy one image, and relations that never coexisted are held in the same frame. In installation, time becomes duration in the room: presence, emergence, disappearance. The systems stay concealed, and what registers is the shift they produce.

I work with the interval between what has ended and what has not yet formed. Inherited structures hold, and they fail to hold, and the work operates between those states.

Painting is the slow center of the practice. The ongoing ROSE Series comprises nine oil paintings in which several temporalities occupy one image and relations that never coexisted are held in the same frame. In Dance of Horizons, developed through the Reality Art and Tech program with Dubai Culture, a rotating sun and moon mechanism changes speed in response to the viewer’s proximity. Ashes of the Becoming and Observing the Observer were selected for ISEA 2026 through the same program, where I trained as one of six artists developing sensor based and kinetic work across 2024 to 2025.