Migrants are all the people portrayed in the dim light of a journey that becomes a shared emotion. It is the choral narrative of those who survived and spoke of what their lives once were. But it is also the story of those who could not find the strength to speak—it is the story of a dream sometimes broken. The fire on the beach at the moment of arrival, the outstretched hands grasping onto life. The clouds and red sunsets of an unknown sky. A tree withstanding the winter frost, the crosses of those who left their dreams on a beach.
Moving between reality and fiction, photography and film, the project transforms everyday scenes into cinematic echoes where memory, imagination and lived experience intertwine. Through spontaneous visual associations, familiar places and subjects, the project recalls iconic movies and characters. Frame after frame, Popcorn becomes a tribute to cinema and to visual arts as a free act of thought, revealing the ongoing dialogue between reality and imagination, art and life.
At the moment, 12,000 female drug addicts live in Berlin. The vast majority of them are homeless and often involved in prostitution. These women are stigmatized and exploited on a daily basis. The project explores the identities of Berlin's addicted women, portrayed through their personal belongings. The compositions reveal the protagonists' unique inner worlds, their daily joys and struggles, proving that there is much more hidden beneath the surface of addiction. The project aims to combat the decades-long social prejudice towards female drug users.
The project is inspired by the imagination of the 1950s and 60s—an era shaped by the Cold War, UFO fascination, and faith in progress. It presents classic American cars with their wheels removed, transforming them into futuristic, hovering objects. A consistent visual approach highlights their sculptural forms and creates a cohesive typology. Despite its fictional gesture, the background—Californian streets and architecture—retains a documentary quality, portraying everyday life. The series blends humor, nostalgia, and reflection on unrealized visions of the future.
This project was produced in Iran under conditions of restriction and surveillance, reflecting a moment when public space allowed only a minimal presence. The artist turned to street cats—the only subjects that could be observed without drawing scrutiny, free from control or questioning. Early experiments with a thermal camera attracted too much attention, prompting a shift to an iPhone and printing on receipt paper. These fragile images echo systems of transaction and concealment, as the prints were carried across borders, hidden among ordinary receipts.
