Art Expedition. Jaipur, India
For this work, I painted an elephant and the model in pink and placed them within a historic Rajasthani architectural site.
The background is built on typical stepped architecture, widely used in Rajasthan and directly associated with utilitarian and ceremonial spaces. The pink elephant refers to the local tradition of painting elephants for festivals, a practice still common in Rajasthan. The pink color functions as a cultural and symbolic reference - it is both the traditional base color used in elephant body painting and a direct reference to Jaipur as the “Pink City.”
The work is constructed through minimal elements: a single location, a limited color palette, and direct use of existing local cultural practices, without fictional additions.
For this work, I painted an elephant and the model in pink and placed them within a historic Rajasthani architectural site.
The background is built on typical stepped architecture, widely used in Rajasthan and directly associated with utilitarian and ceremonial spaces. The pink elephant refers to the local tradition of painting elephants for festivals, a practice still common in Rajasthan. The pink color functions as a cultural and symbolic reference - it is both the traditional base color used in elephant body painting and a direct reference to Jaipur as the “Pink City.”
The work is constructed through minimal elements: a single location, a limited color palette, and direct use of existing local cultural practices, without fictional additions.
This photograph was created as part of Art Expedition, a practice based on working with culturally iconic locations. In Jaipur, I chose Panna Meena Ka Kund, a ritual stepwell and one of the city’s most emblematic architectural sites.
The work is built around the geometry of the place and a single continuous movement of fabric. The pink color refers directly to Jaipur as the “Pink City.” The models are members of a Jaipur-based contemporary dance collective and wear traditional local head coverings, grounding the work in its cultural context.
The work is built around the geometry of the place and a single continuous movement of fabric. The pink color refers directly to Jaipur as the “Pink City.” The models are members of a Jaipur-based contemporary dance collective and wear traditional local head coverings, grounding the work in its cultural context.
I spent six weeks in Jaipur, in India, exploring the city, finding the most interesting locations and preparing several shoots, including this one. This work was created at the 18th-century astronomical observatory Jantar Mantar. This is Jantar Mantar, Jaipur — one of the most iconic places in the city.
It’s an 18th-century astronomical observatory.
I walked through it for hours, observing and trying to understand its visual logic. I decided to work there with three women dressed in saris. Because I was in India - and this is what naturally belongs to this place.Here, color is not decoration.
It’s part of everyday life and visual culture. The circles that cover their faces echo the curved lines of Jantar Mantar’s architecture.
They also replace faces, removing individuality.
I didn’t want facial expressions to pull attention away from the structure and rhythm of the image.
It’s an 18th-century astronomical observatory.
I walked through it for hours, observing and trying to understand its visual logic. I decided to work there with three women dressed in saris. Because I was in India - and this is what naturally belongs to this place.Here, color is not decoration.
It’s part of everyday life and visual culture. The circles that cover their faces echo the curved lines of Jantar Mantar’s architecture.
They also replace faces, removing individuality.
I didn’t want facial expressions to pull attention away from the structure and rhythm of the image.
This photograph was created during my photography expedition to Bolivia, at the Uyuni Salt Flats - a vast desert covered with a thin layer of water. In Bolivia, I was struck by the carnival - its colors, faces, and gestures. Among the crowd, I noticed a group of trumpet players with huge shining instruments. I invited three of them to the salt flats near the village, where the landscape gave their presence an otherworldly and surreal feeling
This photograph was created in collaboration with a real fisherman from Lake Titicaca, who wears a costume made from actual trout caught in these sacred waters. Blending absurdity with ritual, the image transforms local identity into a surreal, symbolic tableau. Part of my Art Expedition in Bolivia series, the work reimagines reality through performative photography—using only found materials and lived stories. The result is a poetic collision of nature, tradition, and dream.
Created in the pre-dawn mist of the Uyuni Salt Flats, this photograph is part of my Art Expedition series. It emerged as a response to the surreal landscape itself. I work with what the place offers: its textures, emptiness, and silent color palette. The burning circle becomes a visual ritual, echoing the raw beauty and quiet tension of the salt desert. No AI, no effects-just imagination and the landscape as co-author.
In Istanbul, I was fascinated by the contrast between ancient tradition and modern life - the crowded streets, the rooftops, the constant movement. Amid this chaos, I imagined a simple, surreal image: a flying carpet above the city. For the shoot, I found a Turkish model and dressed him in a suit created by a local designer who reinterprets traditional elements in a contemporary way. We used an authentic Turkish carpet - handwoven, rich in color and pattern -and brought it to a rooftop overlooking the old town. There the scene became a quiet metaphor for modern Turkey itself - where heritage and imagination coexist in balance, floating somewhere between the past and the present.
This photograph is an homage to Philippe Halsman’s iconic portrait of Salvador Dalí. Inspired by its surreal energy, I transformed the female body into Dalí’s face. The image was created on the cliffs of Cadaqués, near Dalí’s former home - a place filled with his presence and influence. These very cliffs appear in many of his paintings. The work conceptually brings together landscape, portraiture, and historical reference into a single visual gesture.
This photograph was created at the Uyuni Salt Flats in Bolivia - a vast white desert where the surface is covered with a thin crust of salt.
Surrounded by this endless whiteness, I imagined a human figure that could embody the spirit of the place -as if the salt itself had taken shape. We covered the model’s body with white paint and she became a kind of salt goddess - silent, timeless, and fragile.
Surrounded by this endless whiteness, I imagined a human figure that could embody the spirit of the place -as if the salt itself had taken shape. We covered the model’s body with white paint and she became a kind of salt goddess - silent, timeless, and fragile.
In Latvia, I was fascinated by the country’s deep connection to nature and its living pagan traditions. I wanted to create a scene that reflected this spirit - something between a ritual and a dream.
I searched for a local folk band TAUTUMEITAS and found one willing to take part in the project. We met before dawn and went to a forest lake, where the water was perfectly still.
Through this image, I wanted to capture that moment when human presence becomes part of the landscape - when music, nature, and ritual merge into one quiet act of unity.
I searched for a local folk band TAUTUMEITAS and found one willing to take part in the project. We met before dawn and went to a forest lake, where the water was perfectly still.
Through this image, I wanted to capture that moment when human presence becomes part of the landscape - when music, nature, and ritual merge into one quiet act of unity.
This portrait was created spontaneously in the blue city of Chefchaouen, Morocco. I collaborated with a local market protagonist, using a large piece of blue fabric found on site to explore form, texture, and the city’s monochrome palette. The image merges street reality with a poetic vision, reflecting the town’s dreamlike atmosphere and blurring the line between documentary and art.
For this intervention in the Moroccan desert, I collaborated with local camel owners and used authentic Moroccan pigment to transform the animals into walking artworks. Their colorful presence against the neutral tones of the dunes created a surreal visual tension between tradition and imagination. This staged yet site-specific scene became part of my Art Expedition series
In Bolivia, I often saw women walking through the city in traditional costumes, leading their llamas - a mix of authenticity and kitsch that felt both real and theatrical. I wanted to push this image even further, to turn it into a kind of visual explosion. I invited one of these women to pose for me at a local market, next to a flower stand overflowing with colors. Surrounded by textiles, petals, and the animal’s soft fur, she became a living icon of excess - a portrait where tradition, tourism, and beauty collide and merge into one saturated vision.
This photograph was created in the Sahara Desert, where I worked with a group of Berber men. On top of a sand dune, under a strong wind, they unfolded a long traditional scarf - the same kind of fabric they use to wrap their turbans.
The bright textile cut across the monochrome desert like a line of energy, connecting people to the vastness around them.
The bright textile cut across the monochrome desert like a line of energy, connecting people to the vastness around them.
In this urban intervention, I invited Wall Street professionals to wear absurd flamingo-shaped hats in front of the New York Stock Exchange. The clash between rigid corporate aesthetics and playful surrealism creates a humorous dissonance, questioning conformity, identity, and the boundaries of public performance.
Absurdist urban performance inspired by the eccentric energy of New York City. I invited random passersby to wear silicone pigeon-head masks and pose in front of a monumental pigeon sculpture.
This photograph was created in Istanbul. I wanted to capture a simple yet powerful image that combines tradition, masculinity, and contemporary aesthetics. The model - a Turkish man - stands bare-chested, wearing a traditional fez and trousers printed with a Turkish carpet pattern.
This photograph was created in Tenerife and inspired by the local carnival tradition known as The Burial of the Sardine. For the shoot, I reimagined this ceremony in a surreal key: three figures dressed in mourning carry a large silver sardine across a misty volcanic landscape. The scene looks like a procession suspended in time - half ceremony, half performance. It’s a reflection on transformation, death, and rebirth - and on how collective rituals can turn into contemporary visual myths.