replace with new mountains

I draw upon my present life experiences and knowledge from past Big Bangs, releasing them to those universes of the future. My practice investigates the relationship between cyclic models of the Big Bang and my unconscious creative patterns. My interest in art and cosmology stems from childhood and my father, who was a signboard artist and somewhat a rationalist, and who greatly influenced me. I used to play with his tools and he encouraged me to develop my own painting skills and to be inquisitive about science. The central concepts behind my work take inspiration from the Big Bang theory, and more recent developments of this notion within Conformal Cyclic Cosmology, in which the Big Bang repeats, endlessly. Within this cycle, I believe that the memories and knowledge of past societies are captured in the universe's matter, coming to co-exist in the present. These memories are not stagnant but fluid, moving through space in the form of waves, which I imagine my unconscious perceives like an antenna, being part of this pattern myself. In this sense, I too was born as a unique cell of conscious matter, continually transformed by previous Big Bangs and the different forms of life and matter that may have constituted my materiality. Therefore within this cyclic narrative, I too have existed since the start of the cosmos, my body having this vast history embedded within it. My aim is to come out of myself; to unearth these layers through my art-making by pursuing an experimental practice that explores a variety of mediums and their ability to visualise my unconsciousness’s manipulation of this primal knowledge and my corporal memory. Work: Materialism tells matter is primary. In this evolution, life and artefacts are secondary. But my concept is that artefact is primary. Every other thing derived from it, like life and Nature, are secondary. For example, a helicopter is at a particular place. Somebody does not create it, it created by itself. For this helicopter to fly, space and place created by itself. Artefacts assumed as atoms, these are fundamental material. I interpret only the surface which functions unlike reality from inside to outside (unimaginable or paradoxical), because of object solid without any division, unlike atoms. For instance, the grape plant originates from a drop of wine by with a remotely controlled way, the drop exists in the bottle, but the plant springs up another space. The substance moves with the light speed but sees in stillness. Here, the sound of the river as "boat" "boat"... These are my rules of bizarre and not limited. Every object has a story. Behind the canvas, I stick a piece of a magnet for the artefact, metaphor for power.