My artistic practice has evolved from working on two-dimensional surfaces to creating three-dimensional and immersive installations. What began as painting gradually became a deeper exploration of materials, processes, and the elemental forces that shape memory. As I worked, the surface started to feel too limited—too silent. I needed to cut, stitch, reveal, and build forms that could hold the weight of what I wanted to express.

Experimenting with natural pigments marked an important turning point in this transformation. Earth, rust, ash, water, and plant-based dyes allowed me to reconnect with the elements in a tactile and intimate way. Their textures and alchemical reactions opened new pathways: the canvas stopped being a flat field and became a living skin, a porous space where the materials themselves could speak.

My work expanded as I incorporated second-hand garments, thread, and found textiles, each carrying its own history. Through layering, sewing, and assembling, the pieces began to grow beyond the frame, reaching outward to occupy space and invite the viewer inside the experience. This movement toward three-dimensionality—and eventually toward installation—was not a conceptual decision but an organic necessity. The works asked to breathe, to resonate, to vibrate.

In my installations, the body appears through its absence; the garments and pigments become traces of lived experience. Sound, color, and material memory shape environments rather than images. I create spaces where the elements and the human story intermingle, where fragility becomes form, and where the viewer can sense, rather than simply see, the continuity between matter, memory, and the unseen.