Deeply affected by graffiti art, the wall as a surface became my first public exposure. Although I did not grow up in an urban environment, it was an active gesture of rebellion against a dull agricultural village.

The school building and the blank walls of nearby houses became a constantly changing practice surface. This barren and monotonous environment became the ultimate contrast, activating the need to react, to shout, to demonstrate, to confuse, and to disturb the mainstream life of the village.

A kind of creative madness. A suppressed need for freedom.

Thus, this overall exploration and study moves through themes of bizarre amalgamations of beings, the element of terror, the fly, and a strong urge to escape from this extremely silent place—from this sterile life. The need to break stagnation.

Although this rebellion avoids sound, and the act itself happens discreetly and methodically, the silence of the village works as a symbol of enforced good behavior and gradually expands into something almost mystical.

This silence, so powerful, penetrates the artwork and becomes a blank space around the characters, enhancing their unsettling presence—mystic, enigmatic, unpredictable, unworldly. Like a ghost standing silently next to a wall, waiting for a passing semi-truck driver to be suddenly shocked by a creature from another universe.

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