I am a multidisciplinary artist working with video, performance, painting, installation, and sound. My practice explores human adaptation, collective tension, and the influence of audiovisual environments.

Selected works

'til (un)done (2025-2026), Performance

‘til (un)done is a durational performance exploring obligation, endurance, and adaptation through a simple, predetermined task. The artist enters a confined white space carrying a box of balloons. A ladder stands at the center of the room. Climbing to its top, the artist inflates and ties each balloon consecutively, without pause, while a chest-mounted microphone amplifies the heartbeat, making breath and pulse the dominant sounds. After completing the final balloon, the artist descends, exits briefly, and returns to reverse the action — untying, deflating, and returning each balloon to the box. The space is ultimately restored to its original condition. The deliberate yet arbitrary task reflects the demands of imposed systems, where effort is expended without lasting result. The repetition makes the body increasingly present, and the amplified heartbeat exposes the physical cost of sustained labor. Through this restrained action, the work invites the audience to witness endurance, compliance, and adaptation, emphasizing how individuals inhabit and sustain systems — even when their labor leaves no tangible trace.

Minute 50: Blowing the last balloon

The performance took place in the artist’s room, where paper rolls were used to temporarily enclose and define the space. The work developed through repeated testing and adjustment over the course of one month. It was carried out once per week, with the number of balloons gradually increased each time. Each iteration informed changes to duration, pacing, and sound amplification.

A smartphone was used as both microphone and recording device, positioned on the chest to capture the sound of the heartbeat.

Port 10808 (2026), Daily Performance and Online Archive

ongoing until October 31st, 2026

Developed during the Modes of Access residency, Künstlerdorf Schöppingen

Each day, I record the connection logs of the VPN service I rely on to access the internet. For one hour, I manually transcribe these automatically generated digital traces onto paper using my non-dominant hand. A process that normally takes only seconds becomes slow, repetitive, and physically demanding.

The work reflects on living under conditions where internet access is unstable, censored, and dependent on continual technical workarounds. By translating an invisible technological process into bodily labor, the performance makes visible the maintenance, waiting, and persistence that shape everyday digital participation.

The recordings are uploaded daily to YouTube, a platform I can’t normally access.

Day 29 – Minute 36

Screenshot of the original logs

same logs written by my weak hand

Link to the playlist: https://youtube.com/playlist?list=PLAJ3RzDhl6Nk&si=-QucoPNQuwdZJX5R

riverside (2025), video, duration: 2':10" loop

“riverside” emerged from a collection of videos I had recorded of nature over time — close, confined images without wide landscapes or distant horizons. The frames capture only fragments of nature: branches, weathered trunks, grass, dry wood, and the complex, chaotic forms that have always fascinated me. Recording these images became a way of forming a kind of “secondhand memory.”

Instead of photography, I work with video, even when I need a still image. For me, video is a medium that preserves the presence in the moment and the passing of time more precisely and tangibly. Yet when I return to these images after a long period, what returns to the mind is no longer the moment itself, but a transformed and incomplete version of it — a memory that feels both familiar and unfamiliar at once.

“riverside” is not an attempt to restore these images, but rather a confrontation with the impossibility of re-experiencing them. The work does not seek to reconstruct memory exactly as it reappears in the mind; instead, it points to the distance that time creates between a person and their past — a transformation that can make past experiences seem as though they belong to another life, another world, or even another person.

For this matter, I used layered imagery and digital effects. Video and the process of software-based editing allow me to recreate memory not as a document, but as something unfamiliar, fluid, and altered. The natural sounds in the recording — water, birds, and voices of people present in the space— are combined with generated and processed sounds to reinforce this mental recreation.

The editing structure, effects, and layering could have taken countless different forms, just as any memory can be reshaped again and again. “riverside” is only one possible form it could take.

Stone on Stone (2026), Video Installation, duration: 5':56" loop

Stone on Stone is a three-channel video installation exploring the relationship between the body, repetition, time, and instability. A horizontal central video is flanked by two vertical side projections, all shown simultaneously. In the center, the artist’s body is seen from above, seated, with the head performing a continuous rotational movement accompanied by a slow pulsating sound. The motion pauses briefly as direct eye contact is established, then resumes in the opposite direction, emphasizing continuity and reversal.

In the side videos, the artist stacks stones on glass, attempting balance encountering collapse at times. The body appears fragmented or obscured, while the sharp sounds of stones remain constant.

The work focuses on a set of repetitive actions in which attempts to establish stability are continuously disrupted. The asynchronous loop, where the left and middle channels repeat twice against a single cycle of the longer right channel, disrupts linear temporality and resists resolution. These actions unfold in an ongoing sequence without reaching a fixed outcome. The persistence of execution, shifts in direction, and returns to prior states produce a cyclical structure in which time is experienced as non-linear.

development of the initial idea in my journal

Screenshots of the raw videos

Set-Up Preview

left channel

middle channel

right channel

Lullaby (2026), Video Installation, Duration: 2’:19” loop / 4’:28” loop / 01:39’:25” loop

This three-channel video installation surrounds the viewer with asynchronous temporalities that resist resolution, staging a quiet yet insistent meditation on endurance. Across the left and center projections, the artist appears in parallel acts, day and night, standing before a fire and eating an apple, a gesture both ordinary and ritualistic, unfolding under shifting conditions of light, rhythm, and intensity. Opposite them, a prolonged image of a fire burning down and reversing upon near extinction introduces a cyclical temporality that refuses finality. Developed amid a period of political unrest in Iran, the work situates the body within an unstable field where external forces remain uncontrollable, yet persistently present. By fracturing time and denying synchronization, the installation reflects on how lived experience unfolds unevenly within broader historical currents, proposing survival not as resolution or victory, but as an ongoing, adaptive persistence within uncertainty.

Set-Up Preview

left channel

middle channel

right channel

ignited Fire, (2026) , ink and watercolor on paper

This sketchbook contains 80 spreads, images that emerged from a blind contour drawing based on a Persian miniature. In the original image, a figure held a tea tray; in my drawing the gesture unexpectedly resembled someone holding a gun. That accidental transformation became the starting point for the work, shaped in parallel with the violence and political upheaval unfolding around me.

Using Persian miniatures as both visual reference and cultural memory, the drawings developed into a series of experiments with color, ornament, fragmentation, and form. Unlike traditional miniatures, however, these images do not narrate stories. Nor do they pursue the same ideal of representation in which every element is rendered in its most complete and perfected state. Instead, what remains is only a trace of that precision and harmony.

This project reflects an attempt to hold onto a cultural identity felt to be endangered or destabilized. By engaging with the visual language of Persian miniature painting while simultaneously disrupting it, the drawings navigate the tension between inheritance and rupture, beauty and violence, memory and disorientation. These images are less acts of preservation than gestures of searching, looking toward cultural and artistic legacies for something still capable of grounding pride, continuity, and belonging.

Full flip-through of this sketchbook

Checkpoint (2025), ink drawing and oil painting

This body of work delves into the persistent struggle for existence and the inherent tensions of life, manifesting through a dual exploration of intimate sketchbook drawings and expansive paintings. Checkpoint serves as a visual testament to the arduous nature of survival and the perpetual negotiation of life's inherent pressures. It is an exploration of the physical and psychological spaces we inhabit as we strive to endure and assert ourselves.

ink on paper, 20*28 cm

ink on paper, 21*12 cm

The drawings, rendered in black ink on a modest scale within sketchbooks, feature an abstracted portrayal of the human form in conflict. These figures are not clearly delineated but rather merge, repel, and entwine, becoming emergent from gestural brushstrokes and varied textures. This dynamic interplay of form and texture creates a visceral, semi-abstract space where figures grapple and contend.

ink on paper, 21*12 cm

Oil on Canvas, 140*100 cm

Complementing these studies, the paintings operate on a larger scale. They share a chromatic dialogue with the drawings, employing a palette of fleshy tones with underlying crimson undertones that amplify the palpable tension within the compositions. While these colors are restrained, they echo the graphic language established in the sketchbooks, creating a cohesive visual experience across the series.

Oil on Canvas, 140*100 cm

Oil on Canvas, 160*100 cm

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