The abstraction in my painting reflects the process of scientific observation and my investigation of microorganisms, cell biology, cytopathology, and the world of flora and fauna. I use these biomorphic forms of subjects in my work in combination with organic-ornamental compositions that I then translate into the visual language of abstract painting. My work gestures towards an ugliness that involves making the invisible visible through the dissection of an expected aesthetics of form and alludes to the relationship between the control and uncontrolled, the conscious and the unconscious that not only do portray the nature in its idiosyncrasy but also in heterogeneous combinations of my own discovery. In my use of cotton thread on canvas, I explore transformation of the originality into the mutated and deviant, inscrutable images that dichotomize the ‘natural’ and the reconstructed, revealing a ‘visible surface’ of the uncanny, the disparate, the unusual and the monstrous.
Through this process of threading & stitching on canvas by using a home sewing machine, the access of automatism is characterized along with natural habitat in aspects of hybrid forms as well as it contains extracting the mutated beauty from the nature. This method does not only manifest pure harmony but also refer to intuitive drawing that lies parallel with collage and oil paints without preliminary sketches.
In addition to that, use of sewing machine alludes to the erasure of labor, often known as “women’s domain works” in the past as a tribute women’s heritage in aesthetic acquisition.