About

Artist Statement

Based in Canada and working at the intersection of digital systems, physical objects, and interactive experience. My background in engineering shapes how I approach art: I like to build things that think, react, shift, and occupy space—installations, sculptures, photography, collage, and whatever hybrid form feels right for the idea at hand.

My work often begins with a simple question: what does an artwork make possible for the person encountering it? I’m less interested in producing images for consumption than in creating situations; moments where viewers feel something, move through something, or become briefly aware of the forces shaping their own attention. For me, art is most alive when it has dimension, play, and enough strangeness to unsettle the familiar.

I’m drawn to the tensions of our metamodern, accelerating moment: what we desire, what we avoid, and what haunts the edges of our collective imagination. My work looks at how societies make meaning under pressure: how we navigate decay, nostalgia, hyperreality, and the fantasies that keep everything running. I don’t believe art can start a revolution, but I do think it can be revolutionary, especially when it challenges the habits, institutions, and narratives that quietly reproduce the status quo.

Because I come from a technical world, I often use the materials and processes of the present: algorithms, sensors, AI systems, digital fragments, and engineered structures. I’m interested in how these tools reflect the productive forces and material conditions of our time. The artist’s life inevitably shapes the content of the work, yet the work can also confront the artist as something alien, almost with a will of its own. I’m fascinated by that tension and the possibility of making art severed from my own subjectivity.

Recurring themes in my practice include desire, fantasy, simulacrums, production, seduction, acceleration, and the object's supremacy over subjects. I’m drawn to the problem of temporality, the feeling of malaise, and the question of what it means to create meaning inside a system that constantly repurposes creativity as capital.

More than anything, I make art to think, to feel, and to be free. I see each piece as a small attempt to express something honestly without the filter of formal training or institutional expectation. My practice is a way of speaking with the world and against it, in the hope that the cracks might reveal a future worth imagining.

Bio

I was born in June 2003 in Tunis, Tunisia, where I spent my childhood and most of my adolescence before immigrating to New Brunswick, Canada, with my family in 2019. I finished high school during the pandemic and went on to study Electrical Engineering at McMaster University.

After being diagnosed with bipolar disorder and moving through long stretches of depression and periods of mania, I started looking at art as an emancipatory practice: a way to make sense of myself, the world, and the intensities that move through both. It also made clear that the traditional sedentary work-life rhythm is hard for me to internalize. I needed something that offered motion, experimentation, and a freedom of form that felt honest.

Today, I work across digital, physical, and interactive mediums, drawing on the technical language of engineering and the emotional language of lived experience. My practice sits at the intersection of structure and improvisation, logic and intuition, and the long journey of learning how to inhabit my own mind with agency and imagination.