Your work often delves into the tension between the human and non-human world. In this particular piece, you explore the idea of holding onto illusions. Could you share more about how this metaphor reflects humanity’s relationship with nature?

In this collage, I explore the illusions we can face in both our connection to nature and in romantic relationships. To illustrate this connection, I used flowers, which symbolize both the beauty of nature and love in human culture. At first glance, the image evokes a tender connection, as the flowers and the human body suggest a romanticized union. However, as the flowers begin to burn, the figure clings to them, unable to adapt, suffering from the illusion of beauty. The twist in the narrative is that the flowers were never real; they were merely a product of the mind—a 'salad' misinterpreted and idealized.

This metaphor reflects humanity’s tendency to romanticize and misinterpret both love and our relationship with the natural world. It highlights how nature can serve as a powerful symbol in both art and personal relationships, and how our behavior toward nature often mirrors our relationships with each other—frequently driven by illusion, idealization, and misunderstanding.

The burning flowers in your artwork act as a potent symbol of the destruction of nature. How do you think your background in psychology influences your representation of this suffering and disconnection?

In psychology, there’s the concept of the "attitude-behavior gap," which refers to the inconsistency between people's beliefs and their actions. Many people claim to care about the environment and recognize the need for its protection, yet often fall short when it comes to taking meaningful action. Various reasons have been considered to explain this gap, including psychological barriers like denial or avoidance, where individuals prefer not to confront the reality of environmental destruction.

In my piece, the burning flowers represent this denial. By holding onto nature as it slowly decays, we try to preserve the illusion that everything is okay. This clinging reflects an internal struggle: on one hand, we know the destruction is real, but on the other, we resist acknowledging it fully, trying to protect ourselves emotionally. Yet, in doing so, we still suffer as the flowers burn. It’s a visual metaphor for the pain caused by holding onto illusions rather than confronting uncomfortable truths.

Your work, "Flowers were just my Saladhead," touches on the idea of humanity's romanticization of both love and nature, and how this can lead to a form of self-deception. Could you expand on the role of illusion and perception in your work? How do you see this interplay affecting our relationship with the natural world, and do you think art has the power to unveil these illusions for viewers?

In both nature and romantic relationships, we often struggle with the same issue: we want to hold on to what we love, fearing loss. When these aspects of life are at risk, it can feel easier to cling to the illusion that everything is fine—especially when solutions are unclear or we fear the consequences. This clinging to illusion, instead of facing reality, ultimately leads to suffering. In "Flowers Were Just My Saladhead" I sought to show the parallels between these experiences. Through the image of burning flowers, I want people to reflect on the negative consequences of holding onto illusions.

The piece encourages us to confront reality, urging us to stop deceiving ourselves—not only in relationships but also in how we perceive the natural world. Just as the figure in the artwork suffers from self-deception, humanity faces the consequences of misreading nature. The deterioration of the environment affects us directly, serving as a reminder that nature, often misunderstood or taken for granted, bears the impact of our misconceptions and inaction.

By recognizing this, we can begin to view both our personal relationships and our connection to nature in a more realistic and healthier way. Through my art, I hope to encourage people to confront these realities and see the strong connection between our well-being and the environment. Ignoring the truth is not an option. By offering viewers the chance to see how illusions have already caused harm in their relationships, I aim to spark a different perspective on how we deal with nature—inviting a deeper, more truthful engagement with the world around us.

As an artist who works across various media—photography, digital manipulation, painting, and poetry—how do you decide which medium best conveys your intended message for each piece?

The medium I choose is guided by the nature of my inspiration. When I write poetry, it often stems from an abstract feeling that I can't fully articulate. Poetry allows me to capture that emotion without visually defining it, leaving room for multiple interpretations through tone and wordplay. Painting, on the other hand, reflects a personal discovery or critique. It’s more about expressing my perspective on the absurdities around me, and I often start with a specific statement I want to make, only later visualizing it.

With photography, I’m often drawn to a specific scene or object that fascinates me. For example, with "Flowers Were Just My Saladhead" I was initially intrigued by the idea of a person with a salad head. As I reflected further on themes like idealization and connection, this concept evolved into a more meaningful piece. Whether I use digital manipulation depends on whether the visual idea requires it or not.

How do you envision the emotional response from the audience when they encounter your work in an unexpected urban space through the Art Seedbomb project?

When art is displayed in unexpected urban spaces, viewers encounter it without the usual context of a gallery or exhibition. This shift in setting means that people may approach it with a different mindset. They might notice the piece only if it resonates with them personally, as many aspects of everyday life tend to blend into the background.

Without the background information typically provided in art settings, audiences are less likely to consider the themes of the work analytically. Instead, they are left with their own experiences, impressions, and emotions. This immediacy can lead to a more visceral and varied range of responses, as individuals draw upon their unique perspectives rather than a predetermined interpretation.

By placing my artwork in these everyday environments, I hope to create moments of recognition and reflection that resonate deeply with passersby, allowing them to connect with the piece on a personal level.