I approach painting as a way of translating what cannot be directly seen. My work begins with memory, but I do not treat memory as a fixed record; I see it as something unstable, fragmented, and constantly rewritten. I use distorted spaces, recurring forms, traces of the human figure, and shifts between abstraction and representation to create images that feel both familiar and unsettled. Coming from Afghanistan, I am interested in how places carry psychological weight how a wall, a landscape, or an empty space can hold stories without revealing them. Rather than illustrating events, I build visual situations where absence, tension, vulnerability, and resilience can coexist. Painting, for me, is a process of turning uncertainty into form.

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