My work explores the relationship between abstraction and architecture, investigating how
structural forms, spatial rhythms, and layered surfaces can evoke the experience of built
environments without directly representing them.
My this body of work marks the relationship between material, memory, and cultural
symbolism through the use of brocade fabric as a painting surface.
Through abstraction, architecture becomes less about physical buildings and more about the
emotional and atmospheric presence of space. Inspired by historical textile traditions such as
Nishijin-ori brocade from Kyoto and the richly woven silk dragon robes of the Qing dynasty in
China, I am interested in how fabric itself carries meaning beyond decoration. In these
traditions, textiles functioned as objects of ceremony, status, and spiritual expression, where
the surface already holds a visual language before painting begins.
By working directly on brocade, I treat the fabric not as a passive canvas but as an active
collaborator. The woven structure and embroidery embedded within the material become
part of the composition, allowing hidden textures and silhouettes to emerge through layers of
paint. This creates a dialogue between visibility and concealment, permanence and
disappearance.
My practice investigates abstraction as a vessel for emotional and cultural memory. The use
of red carries symbolic associations with vitality, protection, and spiritual energy. Through
layering paint over textile, I explore the merging of fine art and textile tradition, where
material, gesture, and memory converge.
The series Title: Khamaj is named after a classical melodic mode, unfolding like a raga through
rhythm, repetition, and mood. In the same way that brocaded textiles such as Nishijin-ori are
built through intricate layering of thread and time, these works evolve as spaces where
material, memory, and abstraction coexist