Painted ceramics and porcelain objects from different cultural backgrounds have inspired some of my recent paintings.
I manipulate their design through recreating, fusing, simplifying and purifying their ornamental patterns. As a result, the longstanding objects are removed from their familiar cultural context; embodying new artistic and ethnic references. I offer them an independent identity by painting them in unrealistically massive sizes which take them out of their original decorative existence.
Frontal view to the large empty objects of minimalist decoration challenges their traditional symbolic image in novel ways. One wonders if they still carry any part of their original cultural subtext or they just exhibit their emptiness and offer nothing.
Reality as a source of inspiration is unavoidable to me. It remains as a point of reference though; I try to confront the usual anticipations and manipulate the conventions. When I remove shadows of the objects on the ground, the supposedly still lives become weightless and groundless, as if they have been frozen in time.
Now, they demonstrate a contradictory position of inanimate object within the infinity of time.
Some of the bowls are empty and a few are full. With the interplay of time and space, who can be certain of void of emptiness or how full is the full?
I work in series. I like to tell a story through creating related bodies of work. The still lives contradict and challenge the conventions; they embody movement. They follow their personal narrative. In these series, they survived the darkness and journeyed through water.