The photographs present abstract coastal landscapes, which I captured in different regions of the world.  The variation of the flora's shapes, which appeared in front of my camera, became an inspiration to explore human relationships and identity. By creating these diptychs, which are the combination of positive and negative of the same capture, I wanted to emphasise potential opposite elements of the same subject. For me, it also symbolises the duality of human character with its complex nature which constitutes our psychological portrait which is woven from different experiences and emotions such as depression, anxiety, happiness, joy or calm. I also observed another aspect of these compositions. I realised that they display the connection between the currently existing world and something new, which can appear in the future and constitute the outcome of our deconstructive activity on our planet.

A poem and an illustration (both by me) describing the burdensome load of family and traditions in middle eastern societies. Here, we are forever entangled by the shoulds and shouldnt's of the society, or else the price is dear. A woman is expected to stay a virgin until marriage, both genders are expected to stay in the family household until married, even if they are well into their 30's and 40's. As you can imagine, there are endless restrictions on how to behave, what to think, and what to wear. The term 'fetching certificates' is referring to the push towards academic success for women here -at least in my own family household- without paying any attention to their more immediate needs, families metaphorically 'spay' their daughters to preserve honor. No matter how old a woman is, as long as she is unmarried, she has a curfew as when to get back home, it is usually no later than 9 or 10 pm. In many households, the rooms are keyless to further monitor and control the behavior of the 'children', children who, as I have mentioned earlier, are well into their 30's. Attached are two versions of the artwork (sensored and unsensored).

a butcher shop in melaka, malaysia, aug 22

This portrait is part of a series of 30 images I created. I named the series "Jhalak", a Hindi word, meaning "Glimpse" as through the images, as well as quotes from the subject, I explore her culture and her relationship with it, as an Indian woman, born and living in the U.K.

The voices of hundreds of people mix with the sound of music at a distance, an old man playing nostalgic music by the bosporus and a guitar player under a bridge. The rustling of leafs can be hard to differentiate from the sound of the multitude. At times all of these sounds become mute and the chants from the muezzin run the streets. A young boy rushes to the mosque for the prayer to catch up with his family. Music on the streets is still playing, people are still loud and the leafs still rustle.

An observation of what was and what will become.

Dublin is where I first found my love for street photography. Having recently visited the city again this past year after moving away, I felt a wave of nostalgia that reignited a creative itch for photography. There's moments of life on every street corner.

I want to be part of people's lifes through my objects. Growing up and even now, I am a socially anxious person that could even come across as cold or even bitchy. I haven't developed certain set of tools to communicate with others, nontheless the need is very much there. Objects on the other hand are often easier, and their character is soft and slow. This character is what makes me fall in love with some quirky vernacular pieces or with the Japanese post-metabolsim that I gobbled up in Architecture School years ago. These three influences are pivotal in my work: my pieces are moving and sensitive objects captured in a frame of space and time. I aim for these objects to make people smile and feel, in a deeper way, at home. From complex international background and with a childhood in constant movement somewhat traumatic, the quietness and steadiness of home, as a paradigm, are central. I center now my efforts in helping others and myself accomplish a new and personal conception of what home and homestyling is.

Women relax in the Caribbean Sea

(Note: I am not certain on the order the images will be uploaded) Image 1-4: Bleed Canvas in Brown/Black & White. Handmade from start to finish, including canvas. Image 5-7: Loui Side table & Drape decorative bowls (Handmade side table: wood, concrete and faux marble. Handmade decorative bowls: cloth and layered concrete)

1. Solar Speaks 2. Bringing Water from the Moon 3. Flying Horse by John Boudreau all created in 2022 with metal leaf and acrylic on canvas. Thank you for your consideration and have a wonderful day.

These images are part of a self-portraits series called "Burden". The name of the series conveys that something precious and banal like your hair can give you an unnecessary burden that is also linked to absurd stereotypes about gender roles and how a woman and a man should look. At least, it was for me and it took me time to realize how social norms were indirectly deciding for me, as my hair became something that no longer resonated with me, at the same time it was hard to let go of the concept that my long hair represents greater femininity and effort, but I didn't realize this because I don't have the privilege of analyzing all this because I have to move on with my career and I need money to eat. I have like a year trying to take these photos to finally cut my hair. The intention of these images is to describe the relation that I have with my hair, you can see me, trying to emerge between my hair because normally is covering my face, my neck is down because my hair weights and cause me headaches, and also you can see that I have a lot of hair meaning that it is difficult to manage it. It is tiresome to comb it, to take care of it, and I know what are you thinking: “why do you keep it? You can cut it!” -Yes-, I’m going to, this serie is a goodbye to my hair, I know it sounded like I hated it but I also I love it, you see I'm 34 years old, since high school I started to grew my hair keeping it considerable long, for me it was normal to receive comments on the streets about my hair from strange people, "so beautiful hair" "I love your braids" "are you using extensions?" "do you sell it?", and it's not like my hair is a national treasure but from my perspective it was something very meaningful because it gave me a lot of confidence to the point I thought if I was cutting my hair I would lose my appeal, my image would be lost. That's why I wanted to take these self-portraits, to give it a proper goodbye honoring its time with me. Goodbye hair.

In regards to the narrative of my work, my aim was to capture a scene which conveys multiple. I was inspired by Joel Meyerowitz, who once mentioned in an interview that he wanted his street photography to be "portals into the momentary characters of reality", a concept which I found incredibly fascinating. Therefore, I chose to adopt this approach myself, with this image. The appeal of street photography for me personally, is its unique and candid nature, as no two shots are alike.

Post-apocalyptic photographic project “Kataclysm_e”: If humanity survives its excesses, what will be the conditions of its existence? For us, the case of a cataclysm is no longer an outlandish hypothesis. And with the climatic upheavals that we are experiencing, everything is already there so that we can alert, show, see... Alone, naked, decked out in an oxygen mask and neo-rock goggles, a man seems to appear out of nowhere. His free nudity is contradicted by the suffocation of the gas mask which forces us to ask ourselves the question of what to do to avoid the worst. This is the portrait of a man of the future world, if humanity continues on the same path.

An illustration inspired by MAISONARTC