"The blue was more distant than the sky“

Video installation, 09.07 min, Havremagasinet art gallery, Boden, Sweden, 2021

In exile, a writer struggles to write a story and find a realistic act could bring it to life. We don't know what the story or the book about as we are following hallucinations of the writer's attempts to write this book. Exile is like a limbo state where the writer lost connections to reality and entered into a trans-state between Earth and the sky where distance is blurred.

The actorless video of the sky loops continuously as a void circle of an absurd and confusing talk in the blue. Without distinguishing precisely, the sentences belong to whom nor when started or where it ends; this hypnotic-like experience intends to put the viewer in a mind-wandering state.


"The blue was more distant than the sky" is another step in the concept of 'One Person Cinema', which I started in 2016. It is made to be watched individually in the space, for the viewer to feel integrated or implicated.

This work came after a year of the lockdown experience because of the Pandemic. Staring at the sky became a daily practice in a socially isolated state I lived in—a meditative and contemplative way to cope with the situation. I thought, through the sky, the blue, reading the clouds' movement I would find an answer, any answer for the limbo we live where it became an exile within exile.

"Mind Time"

Kinetic Painting, 145 x 145 cm, Raum_fuer_Raum, Dusseldorf, Germany,2021

Every person perceives time differently, and our perception of time changes constantly. The thing which makes physical time is not mind time, based on our mental viewing—the present is different from the past.

During the Pandemic, I experienced time differently, and I started to think more about the notion of time, where I began to consider seconds, not hours or minutes—seconds depends on breaths, the moment man stops breathing; life ends.

We are not entirely prisoners of time; if we can mind time wisely.

As I meditate daily, I became obsessed with the concept of flow, how time flows and exists because of our consciousness and mental processing.

How can we alter our perception of time? By keeping our brain active.

In this work, you can meditate as long as you choose while you see the time flowing hypnotically; the movement of this kinetic painting is a picture of the brain, where things seem chaotic, but in reality, there is an invisible pattern built in this painting where our eyes can't see it, but our brain can grasp it -it is a mental game- this is how chaos and order cohabit simultaneously.


“Blue draws the individual out to a larger world; it gives the feeling of immensity, transcending the small and withdrawing us from the material. It is a spiritual and contemplative colour. 

Something is always far away to reach, only our eyes can touch, and our senses feel the distance of its longing. 

As Rebecca Solnit said, "Blue is the colour of longing for the distances you never arrive in, for the blue world." 

About the Blue Was More Distant Than the Sky

As performative Film talk in Comox Valley Art Gallery, BC Canada 2021.


"The Light that Gets Lost" sound and light installation was installed at Comox Valley Art Gallery, BC, Canada,to give the feeling as if the artist is already there, speaking to the passer-by where the audience can hear my voice and see the displaced light of the sky. The light comes from where I stay due to the specific light system connected in the space, which allows me to control it online and transfer the sky's colour code from the place where I am to the other place where I should be.

The work responds to the confusion of immateriality as a spiritual or digital concept and merging both. The notion of being a present/absent person related to my idea on My Body is My Close Enemy dealing with the issue of the body and free movement.

The work was designed to activate the seeing and hearing senses and not the haptic sense—which was reduced or vanished for people living alone during the Pandemic. 

And I added that in the touring of this work, each time, there will be a new text written and recorded to the place as a sound/site-responsive piece.

It is an invitation to discover the Blue that Gets Lost.

“Breathing Manuscripts” 

Psyche Drawings related to my respiratory art practice.

Life is a line

Regardless of how we think about it – if it is straight, spiral, circular or entangled, it is a line at the end. The invisible part of it, we are living it now.

There is a translation of life, solitude, and a language that became as minimal as straight repetitive lines/words in the Breathing Manuscripts; as a horizon of multitudes, the line separates Earth from the sky and life from death.

Every line in my Breathing Manuscripts is an exhale, a distance of the immaterial and invisible body that keeps me alive—hours from a contemplative life.

I transfer the time and space of my breathing self—of my life to expand in the distance; straight lines, shaking lines, disturbing lines writing part of life when the uttered words no one listens to became lines of breaths and silent words. 

Breathing Manuscripts is a project I started in 2020. It is related to my Psyche Drawings and is part of my research on respiratory art. 

I make two different breathing manuscripts: the first by drawing straight lines as an exhalation on roll paper or a book and the other by writing every breath (inhale/exhale) for an almost hour-long session. Each piece makes the breath visible and expands the body in space without limitation. Those works make my existence, my life, and the time I spent in it as an art piece embraced by its fragility. 

"Silent Talk" Breathing Manuscript, 45 cm X 23.40 m breathing distance, Chinese blue ink on rice paper, 9.10 h breathing time. Vienna, 2021 exhibited in Raum_fuer_Raum, Dusseldorf, Germany, 2021. 

“Lifeline”01, breathing book and Sodalite stone, 60 min of breathing time, as part of Breathing Manuscripts project, 2021