The tree has always had a special status in the course of human evolution. The study of stories and ancient myths underscores the great and enduring role of the tree in human culture.

In the creation myth, the tree of life and knowledge plays a central role in the process of becoming human. In the course of the Fall, the incarnation of the divine into the human takes place.

Firmly rooted in the earth on the one hand, and striving towards infinity on the other, testify to the dialectical unity of sedentary anchoring in the earthly and aspiration to the supernatural, divine, transcendent.

The tree of life as a symbol of creation is timelessly represented in many religions and cultures around the world. We find comparable thematic artistic discussions both in the so-called miniature paintings of the Timurid period and in the modern, contemporary art of Abbas Kiarostami and Sohrab Sepehri, to cite just examples of Eastern thought. But especially in Western culture, the tree has always played an important role. Just think of the gradual autonomy of tree structures in Piet Mondrian’s oeuvre into autonomous, neo-plasticist patterns of knowledge.

In my works, I use the tree element to explore the mythological cognitive structures of contemporary man. My oriental roots combine with the formalistic structures of Western art tradition to create archetypal pictorial inventions that transform mythology and formalism into a feminine, sensitive entity. My paintings express my sacred devotion to conveying the range of my expressive experiences in the western world. My new roots reveal to me the realization that the firmament above us is igniting a universal fiery aspiration for agape, for divine love.