My studio work is driven by the curiosity towards the mechanics of kinetic objects. It comes from a childhood passion of finding out how the battery-operated toys work and whether their functions can be changed. As a child I was also surrounded by objects that stimulated my creative thinking process as my father is a collector of many things. I used to spend a lot of time with him fixing everyday objects and equipment, learning about their mechanism just by observing.
My studio practice analyses expectations towards objects based on their visual presence. It is also an ongoing process of trying to understand the mechanics of surprise. To take the results further, I like to alter them in a way that evokes curiosity. They usually take shape as sculptural installation pieces, to allow them to be an experience instead of a two-dimensional image to look at. The goal for all my works is to interrupt associations towards familiar objects and taunt inconsiderate assumptions towards them. The surprising elements help to create the magical experience of not completely understanding the structure but enjoying the energy and the mood that it creates. The making stage for me is a self-constructive, self-challenging process, because part of the ideas I come up with are not necessarily considered artistic. They are rather something that need mathematical or scientific calculations in order to broaden my knowledge in other discipline areas. Though it may result in failure, the research I undertake for the projects, help to generate more ideas. In a way it also became a tool for me.
I mainly work with wood as it is one of the closest material to nature. It helps to deliver my metaphorical messages compared to nature’s approach to fulfil its role. 
My passion towards sounds and music also has a big influence on my work, as they highlight on concerns whether they are appreciated enough as a form of communication.
Steve Reich’s work had an impact on the way I approach my own art practice. It made me more aware of all the different rhythms in my environment. Rhythm is also connected with assumption because there is a repeatable and predictable pattern. The interruption of this pattern is a tool to create surprise, which I intend to use in a more conscious way. 
Combining electronics with my work has opened up new opportunities for me in terms of finding ways to shorten the distance between science and art, as well as language and feelings.