Good Girl

My artistic practice embarks on an odyssey through the ethereal expanse of the Invisible Realm—a boundless space where intuition, memories, visions, and dreams converge to assume tangible visual form. Within this domain, “String Theory” emerges as a quantum plunge into a terrain I once identified as “The Edge of Reality.” Comprising ten narratives situated in an ostensibly divergent era, “String Theory” beckons us to dismantle our perception of reality, unraveling it into ethereal strands of color that resemble an infinite tapestry woven by the very fabric of our sensory encounters.

My creative process germinated years ago with “The Edge of Reality,” an exploration that entailed the creation of digital collages meticulously crafted from vintage postcards. Once the foundational composition is established, I embark on the laborious undertaking of manually stretching select areas of the image, transmogrifying them into delicate tendrils of elongated pixels. These vivid pixel strands are fastidiously chosen and orchestrated to confer equilibrium upon the compositions without compromising the essence of the subjects they envelop.

Through this project, I sought to depict a diverse array of scenarios where subjects and environments were deconstructed into ephemeral strands of texture and color, reminiscent of an imperceptible barcode—an encrypted language of the unseen. Through this process, I worked to decode our collective perception of reality, rearranging its constituent elements in a novel fashion. However, as I commenced my collaboration with AI, I encountered instances where subjects were disassembled and rearranged into an array of heterogeneous, and at times repetitive, patterns. This exploration resonates with the very appellation of the series, drawing inspiration from the homonymous principle in quantum mechanics. “String Theory” postulates the existence of multiple realities within an infinite matrix, where the passage of time eludes linearity.