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ARTS

Selected Works

Performer

Collage x GenAI · 2025

Invaded

Mixed Media · 2023

Electronic Swan

Symbol Design · 2024

Dance

Collage x GenAI · 2025

Domestic Dreams

Collage x GenAI · 2025

Self Portrait

Serigraphy x GenAI · 2024

Muse d'Orsay

Serigraphy · 2024

I Exist

Serigraphy · 2024

Hug

Ceramics · 2025

Selected Ceramics

Ceramics · 2025

Dad's Stamps

Arrangement · 2024

NMK Library Courtyard

Oil Painting · 2023

NMK Library Courtyard

Oil on Canvas · 2023

Self Portrait

Serigraphy · 2024

Bing-generated self-portrait template, reclaimed through hand-drawn manipulation, layering, and color composition — revealing the human trace within a generative image and merging digital generation with tactile process.

Electronic Swan

Symbol Design · 2025

Originating from hand sketches and generative AI explorations during an ideathon, Electronic Swan evolved into a final digital composition merging mechanical and natural aesthetics.

Musée d’Orsay

Serigraphy · 2024

I exist

Serigraphy · 2024

Dad's Stamps

Arrangement · 2024

Hug

Ceramics · 2025

Selected Ceramics

Ceramics · 2025

Dance

Collage × GenAI · 2025

Originally created as a handmade collage in 2020, Dance was later reimagined through Photoshop and generative AI experimentation. Combining analog with digital, the piece explores rhythm, repetition, and the tension between control and emergence — a choreography where human composition and machine generation move in unison.

Performer

Collage × GenAI · 2025

First composed as a mixed-media collage with sewing thread in 2022, Performer was later re-explored through Photoshop’s generative refill. Harpist: Sirin Pancaroglu

Domestic Dreams

Collage × GenAI · 2025

The piece began as a handmade collage in 2020 and evolved through generative AI experiments.,

Invaded

Mixed Media· 2023

Invaded explores the fragile boundary between art, engineering, and technology — asking whether integration with machines leads to enhancement or alienation. The piece combines two contrasting materials: a traditional sculptural form carved from aerated concrete and discarded circuit components collected from laboratory waste. Cables and circuits spread across the surface like living ivy, bugs, and mushrooms, suggesting that technology — once external — now grows inward, becoming part of the body’s ecosystem. What emerges is a system both parasitic and symbiotic, questioning whether technological integration signifies evolution, dependency, or the rise of a new kind of nature.