My practice moves through the intimate space where cultural inheritance, economic realities, and displacement overlap. I work with aged kilims—some passed down through my family, others collected over time—alongside industrially produced emergency blankets. Together, these materials form sculptural compositions that reflect the instability of place, identity, and memory. They are never neutral. Each arrives carrying traces of touch, rupture, care, and survival.

By placing these materials in deliberate tension, I allow personal histories to meet global conditions of precarity.

Traditional textiles, shaped by time and labor, encounter disposable, reflective surfaces designed for crisis. In this collision, form becomes a site where past and present press against one another.

My work responds to a world in which intergenerational knowledge, domestic labor, and slow modes of making are increasingly eroded by economic hardship, forced migration, and ecological disruption. Rather than speaking loudly, my gestures remain quiet and bodily—folding, stitching, layering—as acts of attention and resistance.

I am not interested in resolution. I create spaces where impermanence can be held, where fragments remain unfinished. My installations dwell in what persists through vulnerability—what continues to shimmer, fold, and endure, even as place shifts and certainty dissolves.