My practice investigates how perception, embodiment, and subjectivity are shaped through time-based experience. Rather than approaching identity as a fixed or representational category, I treat it as something that emerges through sensation, attention, and the body’s encounter with space, sound, and duration. Working across performance, installation, sound, and moving image, I construct immersive environments in which experience itself becomes the primary material.

My research draws on Indo-Iranian philosophical and ritual traditions, approached not as belief systems but as epistemic frameworks for understanding transformation and states of awareness. Concepts drawn from Sufi practices such as shur, alongside Vedic accounts of samādhi, inform how rhythm, repetition, breath, and movement can reorganize perception and alter modes of attention. Across these traditions, transcendence is understood not as an escape from the body but as a reconfiguration of embodied perception.

Philosophically, my work is informed by Illuminationist thought, particularly the writings of Shihāb al-Dīn Suhrawardī, whose conception of reality as a gradation of light provides a framework for thinking about presence, opacity, and knowledge as lived conditions. In this context, light, sound, and space function not as symbols but as material forces that shape awareness and experience in real time.

Formally, I work with live performance, sound design, projected light, voice, mirrors, live-feed cameras, and architectural composition to create temporary situations rather than fixed objects. These environments invite audiences into states of heightened attention where distinctions between inside and outside, subject and environment, certainty and unknowing begin to loosen. Influenced by queer and performance studies, my practice understands embodiment as an active, self-authored process—one that remains open, unstable, and continually reconfigured through experience.