how do our cyborg-like habits reinvent the nature along its metamorphosis process? 

the whole question dawns in my practice from a mixed background and a pivotal experience of a six months cohabitation in 2013 with a colony of honeybees swarmed indoors. both factors have led me into studying pollinators’ social learning in comparison to human behavior while colonizing and ruling habitats, in the term of a mutual influence speculated across socio-biology, anthropology and visual arts altogether.

my viewpoint delves into expressions of social dissonances to foreground throughout a multifaceted language that explores conceptions and materials culturally informed, by merging the endless process of life and death in natural patterns and the serial character of man-made features into ambivalent aesthetics.

as the process of metamorphosis traces adaptation, social frameworks run within change of status. 

what boosts the working method overall is a labor-intensive manipulation of  special organic matter sourced from apiculture as a result of the cooperation between diverse organism and the human intervention along seasons, before and after  having upcycled and cured it up to get the consistency of man-made building materials: its ability to undergo metamorphosis and host dwellers makes artworks evolve autonomously.

like dynamics of social conflicts and inter group-rivalry, the work manifests itself in a dual aesthetic . 

despite our candy-coloured simulacrum of nature, the outcomes surpass unpredictably the original design, in a full circle of cooperation between human ends and other organisms’ evolution, including artificial applications.  working methods are drawn on renaissance workshops, land art conception and pop art as well, across various sculpting/painting techniques that handle materials akin to our domestic environments such as porcelain, steel, iron, fabrics, building products.