My artwork is based on durational, repetitional, excessive, and endurance drawings. Minuscule drawing elements become colossal art pieces through unique repetition of each mark. Most pieces contain tens and hundreds of thousands, and even millions particularly chosen drawing elements. Each piece is founded on the exact idea and/or a fact, which dictates, absolutely every aspect of its execution.

Every art piece has a responsibility to provoke an awareness of a very specific social, somatic, or scientific truth/issue. To illustrate; the piece Atrocity, The Foundation consists of 1,500 bricks made of paper and wood stain, covering the entire gallery wall space. Text has been printed on some of the bricks stating a death toll, slavery, and rape victims estimates in wars throughout the human history and present. The aesthetics, composition, and overwhelming size of the piece evokes emotional response. Nevertheless, the full impact of the piece is evident only when viewer reads the text and steps back to comprehend the colossal size of atrocities. Some of the pieces simply visually represents a scientific fact, i.e. Human heart beats about 100,000 times in 24hr, resulting in a drawing of 100,000 marks.

My work challenges how it is to be seen; whether to look in sequence or randomly, whether to look close up or just take it all in at once. The details pool the viewer towards the piece yet the collection of drawing elements creates the overall new visual experience that lets one appreciate the severity, seriousness, or immensity of the issue. In addition, uncommonly, my work uses fundamental, most simple materials, like pencil on paper, so that focus can be on the idea and its execution process.

Performance or process based pieces are durational or endurance drawings focusing on somatic function. Through drawing, through this state of being oneself, one experiences oneself as the passivity of the self being given to the self. This naturally leads to an observation and analysis of one’s existential experiences. Definite conclusions are not necessarily an objective here. Rather the intention is to consciously experience the experiencing self, thus to document one’s morphological and internal existence. For example; 40 hour long line, drawing every minute for 24 hours, 11,929 self-portraits reflecting the number of days I have been alive, 10,000,000 points, 1km drawing of portraits, 10,000 things around exploring perception through various physical limitations (fasting, sleep depravation, etc.); 55,000 portraits,etc.. Each piece was executed with carefully constructed visual elements resulting in technical perfection, yet each piece communicates very particular discourse.

Compulsive obsessiveness of excessive drawing becomes a document of time and the drawing’s creation; it becomes a document of experience itself. When so constructed, the act of drawing allows me to re-experience existence, but in a slower and fully conscious way, so that perceptions become apperceptions.