The Study of An Artifacts on Display I, 2021
Available
Dimention: 110x100cm each
The study of an artifact on display is a painting series, developed as antithesis to the dominant practice of representation of the artworks and artifactsin from Africa and the global south in Westeren museums and instuttions without paying much attention to the reality the works are part of. These series of works want to render visible the cultural, human also a political biography of the works. Which ranges from the people who made them to the violence used to acquire them.
The Study of An Artifacts on Display III, 2021
Available
Dimention: 110x100cm each
The Study of An Artifacts on Display IV, 2021
Available
Dimention: 110x105cm each
The Study of An Artifacts on Display V, 2021
Available
Dimention: 110x134cm each
What The Wise Awakens To
“What the wise awakens to” is a short animation film made from individually hand painted frames.
The conceptual interest of the film is as the name suggests to tell a story of awakening. The narration is based on the famous allegory of the cave from the republic. The allegory of the cave as an archetypically structured story has a lot of similarity with other similar myths and stories on the same subject. For instance, with the life of Buddha from the east.
Both stories begin from more or less similar settings. In both plato's cave and buddha’s youth the reality is carefully constructed. The protagonist from plato lived in a cave where what he sees is selected and structured as shadows. Buddha also spends his pre-enlightened life in a world devoid of hunger, illness and death : curated and controlled by his father.
These two stories diverge only in their picture of what the real world is: what their protagonist awakens to. According to the allegory the protagonist will leave the cave to awaken to the splendor of the real world. Radically better. While Buddha awakens to the suffering of the world.
This is also where the interest of the film lays.
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Maps of Possibilities 2019
Tromsøkunstfroningn/Tromsø
Why grammatically incorrect statements are less appealing than the correct ones? Why ambiguous and uncertain speeches are less preferable than assertive and eloquent dialogue?
With no linguistic measures ,we would be able neither to fully comprehend nor represent the human world with all its totality. But Certitude seems the defining characteristic both of our language structures and scientific understandings. 19th century linguistic philosopher believed the problems dealt by philosophy are rooted in the problem of the language. Hence the proponents of such schools of thought argue that, creating correspondence between the world and language must be the central task in our strive to solve the the metaphysical inquiries dealt by philosophy. The historical parallel of the optimist project of 19th century towards achieving linguistic utopia, is a the language of totalitarianism which is also aimed at cultivating a language structure that dictates what is possible to think. To create a cultivated language, according to Schiller , which thinks and writes for you. Everything human; the errors, the mistakes and the uncertainty should be eradicated, In order to render every human into the extension of its own language. Through a clear language and a certainty of vision, totalitarianism justifies itself; Rational Individuals will be mobilized to be feeling crowds. Whenever an idea believes in itself, When ideology is too certain, It forces the whole world to resemble its own image. Every ideology should have a systematic self doubt as integral part of itself. Map of possibility is intended just to do this by a symbolic attempt of putting the medium in flux and piecemeal alterations in a manner that alters the subjects that the medium corresponds with.
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Map of Absence, 2019
Galleri Small projects/ Tromsø
We use language to express precisely what we want to convey. Our language is full of spatial and temporal references to orient things in time and in spaces. These references are quite relevant. Since objects or events can not be used as a reference for their own justification, we cannot think of any things in general, apart from the possibility of their connection with other things. One set of relation that is quite significant in the way we make sense of things is the relation of presence and absence. Absence looks too perplexing an idea to get a clear conceptual picture of. It is often a challenge in a discipline like archeology for example, which is mainly dependent on the remains of the past when reconstructing archival voids; especially when we consider that across the world most of human activities are devoid of material remains.
What is void/absence? Does is it have its own nature? Or is it merely space modeled after the nature of the specific thing which is absence?
Maps of absence is a crystallization of the artist's attempt to give visual form to how void is appropriated in both material also linguistic spaces
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