Workshop Experiences

Experimenting with various materials like wire, paper, wood, trash, and fabric, I create pieces that explore movement, form, and the connection between nature and the human experience.

While traveling, I love discovering workshops, spending time with local people, and learning new techniques. This not only enriches my skills but also expands my creativity and personal growth. Each piece is a unique journey. In this space, I seek to capture moments of transformation by blending raw materials and personal exploration.

Self-exploration | Personal journey

Sit in Nature

Armenia 2023

Wire / Paper

Sit in Nature was created in the mountains of Karaberd, Armenia, using found materials and organic elements collected from the surroundings. The figure does not attempt to literally represent the human body, yet it immediately reads as a presence.

For me, the piece speaks about the simplicity of what we truly need in order to reconnect — or perhaps, in order to feel free enough to float. To sit in nature, to slow down, to exist quietly within the landscape.

Armenia 2024

Wire / Wood / Old Fabric

Couple Meditation

This piece was created in the workshop of the house where I live in Lusakert, Armenia. The two figures represent my partner and me during our morning meditations.

Built from old trash and simple found materials, the piece reflects the quiet ritual of sharing silence, presence, and stillness together before the day begins. Although reduced to minimal forms, the figures hold posture, balance, and connection. Like two small structures existing independently while remaining deeply linked.

Shell of Us

Armenia 2025

Wood Frame / Net / Shells

Size: 20 x 15 cm

Available

This work represents woman and man in a highly simplified manner, using shells and natural elements arranged within a rigid geometric structure. Suspended on a grid-like surface with no distracting background, the composition reduces the figures to their most essential forms.

The contrast between the organic textures of nature and the strict lines of the wood reflects the tension between natural identity and the social structures that attempt to contain, define, or organize it.

Both figures share the same basic construction — a head and a body — yet become differentiated only through their intimate parts, the elements that socially impose distinction and separation.

Bound Love

Canvas created from old trash wood.

Red net / Swen Fabric Silkprinted (with @AmyTodman drawing).

Size: 60x60 cm

Armenia - 2024

Batik Technique With Wax

Thailand 2024

I discovered this technique for the first time in 2024 while walking through the island of Koh Lipe, Thailand. By pure chance, I found a small sign that said: “Art classes HERE.” Without hesitation, I walked in. One of those intuitive moments where you simply feel: this is the right place.

I spent the entire afternoon with Gee, a local artist with a deeply spiritual presence who lived a very minimal life, eating only what nature provided — mostly fruit and fish — and sleeping in a hammock. His house had no door, just an open space completely connected to the outside.

While we worked, he listened to Buddhist sacred texts. Although his English was very limited, he still tried to translate fragments for me as best as he could. More than an art class, the experience felt like a small retreat.

One phrase stayed with me ever since:

“When you think, throw away and come back to the breath.”

Vietnam 2025

During my trip through Vietnam, I decided to take another Batik class — a technique deeply rooted throughout Southeast Asia. At the time, I was in the north of Vietnam, outside a small town called Sapa.

Once again, I was guided by a local woman whose English was very limited. Still, the experience reminded me that art does not depend on language. And more than ever, it made me realize how much we underestimate handmade work. Creating lines through the Batik technique requires an incredible amount of precision, concentration, and practice.

After finishing my small fabric piece, we started talking with another local guide, and from that conversation came the phrase: “Where are you now?” It felt almost philosophical, as if she perceived existence as a kind of cosmos in which I needed to locate myself.

The following day, I spent around four hours sitting on the floor of her workshop-store-home. Practicing the technique, exchanging words with passing travelers, and simply painting in silence with the mountains in the background.