Yes, working in London has opened up a lot of opportunities for me to experience cultural diversity, which impacts my practice for sure. Not to mention the geographical advantage of being able to travel around Europe! Also, meeting and working with people from different backgrounds and varied ideas is always fascinating. Museums, galleries, streets and landscapes are all excellent learning materials for me.

The materials that you mentioned from ‘If you are lucky you will see it’ (2018), are normally used to join, tie and hang: they connect one or more things together. They are absurdly miss-scaled and miss-placed within the work. They are not functional but they rather function as metaphorical objects. For example, the beads are objects that mimic real gemstones, which are compressions of time and mineral. Here, they are placed in relation to a platform which mimics the historical remains of Ancient Agora in Athens. I assembled various forms and sizes of materials using this methodology. I try to bring multiple directions to the work and interact with it as a fictional object as a way to speak about a reality. This installation was made in Athens while in residency at Snetha. It was an attempt to reflect my experiences of living in a historical city that juxtaposed ancient residences with the street vendor markets.

My MA degree show exhibited ‘Believe me / Life attitude’ (2017), which was an object- oriented environment that juxtaposed different materials with an image of a dentist chair. This machine held multiple functions, including arms that connected to the circulating body. I selected the dentist chair because it is a familiar apparatus that we can relate to easily: it touches the most sensitive area in our body while we are awake. I presented this with an array of different situations, using fabricated materials as well as found objects. Technology is developed to fulfil specific functions for human convenience and need, but, the failure and misuse of machines is also our responsibility. Confronting highly advanced technology comes with an inherent fear of failure and the threat of unpredictable outcomes. These complex subjective relationships between humans and machines are challenging to describe. They affect our behaviour and way of thinking, which brings more complicated physical and emotional challenges between them and us. The installation contained a collection of poetic and sensual feelings and emotional fluctuations. The work suggested intimacy through pastel colours. There was an image of a smiling face, but there was also a few hanging teardrops and a print of flames at the same time. The piece was both celebrating and mourning simultaneously. I think that these multiple positions regarding the emotions and materiality in the work extend symptoms of the post- human, which are already within us. The work as a whole was about the feeling of becoming post-human, developed through a semiotic circuit system.

When I started to work with objects, I became interested in how these transform their meaning and create new visual forms when situated in relation to each other. Through the process of collective assemblage, I try to convey new meaning and shift their conventional position in the world. I find it poetic when things overcome their positions and in the moment of touch, transgress boundaries. I often use commercial objects. It makes sense to me that by shifting an object from its original context, I can render new possibilities. The materials that I use are very varied: fabric, building structure, casted material, print, small objects… They can reflect one another through a process of construction and deconstruction.

I collect a lot of images from the Internet and from everyday scenes. When I produced the mood- board, I was interested in meteorology, the status of matter, and how things transform, transmit and transgress in a particular area. I started researching this from both a scientific perspective and a fictional perspective – statistics, graphs, diagrams but also smoke and insects. I read them as visual forms and tried to find a connection with other existing materials. Recently, I’ve been collecting sentences from broadcasts, newspapers and magazines to discover how common language is shifting. For example, I found in the news this quote: ‘the winds are so ferocious, this massive dust storm is sweeping through where we are, huge clouds of dust and ash.’ This sentence conjures up an image, and demonstrates how the landscape and shape of the natural world is shifting.

There is both humour and seriousness in my work. I like to invite the viewer to see the playfulness and absurdity from the contrast and juxtaposition of the materials. I hope that the viewer can read the political narrative of the work. My practice questions subjectivities. The research placed in between everydayness and consumerism, also science and technology. I am interested in the word ‘rupture’, which holds the meaning of an occurrence and a clash in-between. I hope that the viewer finds the poetic relation from the materials that I use, their placement, and the way that they approach other elements. By juxtaposing them as a polyphony, I try to achieve non-anthropocentric and non- hierarchical pieces that can be accessed and open to multiple subjectivities. I hope that the viewer can experience this by looking at the complex contrasts and compositions through the installations.

I am interested in the ‘quasi-surface’, which is an unsettled surface that is not quite fitted or fixed, it has openness and potentiality. It can also be a barrier or restriction. Also, I think of webs, dimensions, and illusions. It has ambition and flexibility in scale where each wire can convey the information and direction. Also, to cut out or make a hole is for me, a gesture of penetration, rupture, or entrance from one space to another world.

In ‘Inhale and Exhale’ (2019), the big sponge cube saturates a significant amount of liquid through its entire body. I wanted to express the energy of the sponge which holds the liquid as it stands up still in a solid shape. I think that the sharp angle helps the impression and gives the feeling of intensity as this cannot have an angle without a container. The sharp cut of the line is elevated when it meets the cold aluminium surface on the floor. I want to intensify the energy of the liquid that constantly fights gravity and evaporation to the atmosphere, also with the material of the porous sponge. The status of materials and the energy between strata is definitely a theme in the work, they continuously affect each other when the viewer is looking at the stillness of the object. I wanted the sponge to become a breathing machine.

The moment of recognising the absence of the human body is also the moment of realising the human body. I only use the traces, parts, and symptoms of the human body, such as the gesture of scratches, scribbles, marks or objects that reveal the human scale, such as gloves, fake nails, or shoes. Also, I find it interesting if non-living material mimic human gestures or resemble a living creature. I am searching for the moment beyond the human body.

I investigate how to compose objects with each other In the form of relationships. I think that the ways that these elements are suspended, covered, tied, hung, or fitted are a natural mode of forming relations between them, rather than turning them into a permanent physical structure. I find that this composition it quite sensual and emotional. I wrote my MA dissertation about non-human touch. It is not only a physical or chemical sensation but also about a semiotic relation, the invisible energy, and psychological consciousness. I read Jane Bennetts’s ‘Vibrant Matter’ (2009) and Timothy Morton’s ‘Hyper Object’ (2013), which encouraged me to think about the relationships between objects.

The image is a creature, seemingly a dog with spikes on its back. I juxtaposed it with an image of a baby seat attached to a climbing backpack. One is an object with a highly ergonomic design, and the other was made thousands of years ago. However, they are weirdly similar to each other. The backpack looks like the animal and the animal looks like the backpack. So with this, I attempt to flatten the hierarchy of value between museum treasures and commercial products. I find it funny.

I made a knitted pocket in part of the work ‘Believe Me /Life Attitude’ — this work exposed different materials to various forms of vulnerable situations and tried to convey complicated emotional changes using materials as well as emphasising on the emotional vulnerability and sensibility of the viewer… For this, I placed a small ceramic piece made of the colour of gum inside of the knitted pocket, covered a platform with bubble wrap and a standing pillar with cotton fabric that was then protected with another layer of PVC. In contrast, I tied the metal structure with a fabric string and the big wooden frame was supported by a thin metal string.

Human desire and social relations cannot be separated from commodity products. The idea of invisible powers came from bio-politics but also mythology. It is a crucial question for me to think about future possibilities, material ontologies, ‘space’, and non-human existence.

The work ‘Dune’ is a part of the project ‘How To Sense The Invisible’ (2019). I wanted to explore the invisible energy in the atmosphere. The work contains images of an organism that can exist in very different environments. There is a vast scale of difference between those spaces. I want to question the unknown life-forms that form the earth and our atmosphere. The fake-nail set resembles an animal’s backbone or a creature that has many legs. I often use domestic plastic materials that are mass-produced, cheap, as well as materials that quickly fade away but are also shiny and attractive. In this work, they resemble crawling creatures that move around and under the surface and travel through the hidden areas.

Yes – I understand the world through the process of creating my work. Of course, my experiences matter, but I try not to personalise the work. Instead, I try to observe and convey the world through my vision. The material that I collect doesn’t only come from my own interest but its also part of shared knowledge and information. I work with it until I find out the mystery. I think that making art is an energy-event discovered through process and imagination. I hope that my work does resonate with others.

My all-time hero is Isa Genzken. When I started to use everyday objects, my tutor recommended Genzken. At that time, she had a show at Hauser and Wirth, London. Her use of shifting scales and intensity between materials fascinated me! Also, using consumer culture and commodity products as a way of building a connection. It helped me to shape my practice and understand its implications.

I moved my studio to South London last year, and I definitely enjoy working in a new place. I used to live in South London before I moved to East London. Also, I spent time during my BA around this area, so I feel at home and comfortable here. Most of my friends are living in the area, so I often invite them over to my studio so we can spend time together. I like the proximity to the lake and Decathlon. At the moment, I am into making peculiar creatures and landscapes exploring the process of becoming and bio-morphism.