My artistic vision centres on uncovering the lesser-seen sides of the world — especially cultures and countries often overlooked or misunderstood — through painting. In recent years, travel has become fundamental to both my creative practice and personal growth. It allows me to connect deeply with unfamiliar places and to witness humanity in its many forms. While mainstream narratives often present a limited or politicised view of certain regions, firsthand experience reveals complexity, beauty, and resilience. My work focuses on the cultural and social dimensions of Middle Eastern countries, drawing from my travels to Iran, Afghanistan, and beyond. Through observation and immersion, translate these encounters into visual narratives that challenge preconceptions. My process is adaptable and intuitive. On the road, I work with ink and watercolour, capturing fleeting moments and architectural forms in sketchbooks. In the studio, these studies evolve into larger mixed-media works. I am also experimenting with projection mapping, merging traditional painting with digital media to create immersive experiences. Ultimately, my work seeks to build bridges — between cultures, between history and the present, and between tradition and innovation. I hope to create spaces for reflection, connection, and renewed understanding through art.
At the heart of each piece is a commitment to bearing witness. Working across oil, acrylic, watercolour, ink, and charcoal, I document the everyday lives, traditional rituals, and architectural heritage of regions that history has too often reduced to headlines. Each work is a visual archive — a record of resilience and quiet beauty found amid adversity. My sketchbooks serve as the first language: rapid studies made on location, in the markets, doorways, and ruins of Iran, Afghanistan, and beyond. Back in the studio, these raw observations are translated into larger compositions that hold the tension between documentation and interpretation, between the specific and the universal. I am currently expanding this practice into new territory, exploring projection mapping as a means of layering the digital onto the painted surface — creating immersive environments where a canvas becomes a living archive, animated by light and memory. This ongoing research into hybrid forms reflects a deeper inquiry: what role can art play in social transformation, particularly in zones of conflict and cultural erasure?