My work starts from my daily linguistic experience. I approach the use of language as a phenomenological experience for which my body is pivotal as a reservoir of my personal history. When I experience spoken words or phonemes–sounds that I can express in writing–I recognise this as both a physical and psychological experience. The texture of my body is rearranged in a certain way that is relevant to each experience. I think about my relationship with their referential meanings (if any), but this soon leads to my manipulating them in a sort of wordplay that can be decoded only by understanding my personal experience. This includes bridging the spaces between my mother tongue and foreign languages in a random and illogical way.
I translate the amalgam of the sense of the body and the abstract imagination into geometric forms. The process of composing the surface of painting is similar to the repetitive practice of writing a discovered word. Through repetition, the image of the experience is strengthened, and its internal complexities are elucidated. Through this, I make my own hieroglyphs that embrace and deliver the personal narratives. I make my paintings concentrated ‘things’ of the paint and the paper through a repetitive process of manual painting and sanding. I work with drafting tools, such as sharp pencils, rulers, bradawls, and paper laid on a table, by which I find my way of working similar to that of a writer who develops a palimpsest in their own language.