“What We Said in Silence” is about everything that exists between people that cannot be translated into words.
It can be love. It can be empathy. It can be compassion. It can be understanding. It’s that look between two people across a room, when you suddenly know exactly what the other person means without having to ask.
It can happen between friends, between people who know each other, or between complete strangers. You can look at someone and understand something about them without knowing their story. You can feel compassion for someone you have never met. You can offer something without saying anything at all.
We communicate much more than we realise.
There are gestures, looks, silences, instincts and feelings that have no exact translation in language. They exist somewhere before words. And sometimes words are simply not the right medium for them.
That is what I mean by “silence” in this work. It is not the absence of communication. It is another form of communication.
This piece feels like it’s coming from something private but I want it to become personal to whoever encounters it. I want the viewer to recognise something of their own life in the words. Maybe a person they love. Maybe a stranger. Maybe a moment they remember but never knew how to describe.
I made “What We Said in Silence” in Izmir, for a city and a people that gave me hope and support in ways they probably don’t even realise.
So this work is also about that.
About what we give each other without necessarily knowing we are giving it.
About kindness. About connection. About the things we understand without being taught how to understand them.
What we said in silence.
I’ll rather call him
from here.
Since I was very young, I have felt a voice inside me. This is not new to many of us, I think everyone feels this. You can call it differently, but you know it’s there.
I have always felt there was, like, a person living inside me. Not something bad or evil, but something that felt special, almost higher, existing on another level.
I thought this was something that would stay with me forever. And actually, it did.
I don’t know exactly who this voice is. I have always interpreted it as my ancestors — something that existed before me, because it seems to know better, or to have some kind of decision-making power. And it grew with me, and somehow is always part of me.
This work is about that presence.
For me, maybe this is God. Because God is not religious and God is not physical. God is this — something that lives inside us. It is my inner voice and yours. Something we carry without necessarily knowing where it comes from. Something that can become quiet, but never completely leaves.
So I’ll rather call him from here.
The will is important to me. I am not talking about something I wish could exist, or something I aspire to find. It is already there. It has always been there.
I simply call him from here.
And then there’s my lover.
I call you from here, love.
Porto 10/2025
United We Stand, Divided We Fall.
We fall.
We stand.
I never fall.
Barcelona 10/2025
This work comes from a sentence I read in Sophia Loren’s autobiography: “United we stand, divided we fall.”
I made it for Barcelona. The work represents the strength, resilience and unity of Latin societies, shaped by generations, family, heritage and the many struggles we have faced together. Barcelona represents this so well — the resilience, the power of revolution, and the voice of the people. There is also a sense of freedom and a way of living that feels different from any other city. You can love whoever you want, however you want, and that is truly priceless.
I believe that unity is, in many ways, the answer. We live within systems of power that can make freedom feel distant, almost impossible to reach. We are constantly made to believe that we are too small, too divided, or too powerless to change anything.
But when we come together, that power shifts.
United, we are stronger than the systems that try to separate us. We become difficult to control, difficult to silence, and almost impossible to stop.
I also wrote this work for a lover, and I wrote it as a woman. I do fall, and I do stand. And, ironically, falling is not an act of failure, but an act of belief in freedom.
So we fall, and we stand again.
I will fall in love. I will fail in love. And I will stand again, over and over.
This work is a reminder that freedom may not be something we reach alone, but something we create together.
“SAY A LITTLE PRAYER FOR YOU”
&
“ANSWER MY PRAYER”
PARIS & IZMIR 9/2025
"Say a little prayer for you" & "answer my prayer"
I wanted to use the flyer as a medium, not promoting any product but a feeling, a sense of awareness. It’s like I was saying to the ones who read it: have compassion, have love for yourself, have hope.
The images have the white spaces filled with drawing; it’s like a stamp of the soul. Drawing, for me, is not like a photo. When a drawing comes out, it is not outlining the physical, but the inner, something about the person who draws and the person who is drawn.
I left the flyers and photographed them in Paris and Izmir. Paris for it’s connection to vanity, and Izmir for its connection to praying, to faith…
For me asking someone to pray for them selves or asking to answer my prayer, can be ironically asking themselves to save themselves and at the same time is an act of faith and an extreme vulnerability. It is accepting our fragility and our sense of hope, but privately can be a despair. Like loving someone thats a lost soul.
This work was intense for me because I carried it and felt it every time I used it to register photos and videos. It was a self-awareness, a self-consciousness that made me reflect on my own self-compassion. My work is very biographic its always based on my own events and life encounters.
At the same time I have been feeling so hard to be awake, to be fully with myself. The digital distraction is so strong and hard to escape. So many addictions, it’s so hard to be in an introspect mode.
Like most of my work, this work exists on a personal level, like a private message to someone, and also on a public level that everyone can own and feel as if it was made for them and is about them.
At the end I hope for connection with myself and others.
“with you”
&
“faith tastes like salt on my lips”
Algarve 8/2025
We Are Never Truly Alone
This work began with a feeling I have carried for a long time, that solitude is never absolute.
Inside each of us there is a quiet awareness. A presence that witnesses, senses, and connects. I experience it as something deeply rooted in nature and for me, nature is God. Not as a structure of belief, but as a living continuity between the inner and the outer world.
The drawings and phrases became stickers almost instinctively. I was drawn to their scale and fragility. Stickers are not monumental; they are intimate. They can be held, placed, moved, or shared. They exist lightly in space, the way thoughts do.
Each image and each sentence is a small gesture, a reminder that consciousness itself is the gift. Before identity, before fear, before ambition, there is awareness. We are born with the ability to experience being alive. That is the extraordinary.
Compassion, to me, is simply the natural expression of this connection. When we recognize ourselves as part of the same living field, kindness becomes inevitable.
These pieces do not demand attention. They invite closeness.
They ask the viewer to pause and to remember that even in stillness, we are accompanied.
Quando Tudo Acabar, Liga-Me
PORTO 7-2025
When Everything Ends, Call Me (Quando Tudo Acabar, Liga-Me)
When Everything Ends, Call Me is my first public art work in Portuguese, exploring the intimate and the collective, the private and the public.
On a personal level, the work speaks of giving time to ourselves and to those we love. It is about freedom within relationships, care without dependence, and an altruism that respects both the other and oneself. A gentle reminder to remain present without being bound by expectations or fears.
The fact that the work is displayed on a beach gives it an even more universal dimension. The sea as witness to humanity, a confidant, a place where we go to reflect, seek answers, and find peace — especially inner peace. At the same time, it evokes the suffering and injustice in the world, from Gaza to other tragedies, highlighting our alienation and the ease with which we sometimes turn away from what is unbearable.
When Everything Ends, Call Me is simultaneously a personal act and a universal statement: a call to presence, awareness, and empathy, where each connection holds the possibility of reflection, recognition, and resistance — even in a world that often feels fractured and indifferent.
NOW
IS THE
TIME
PORTO 6-2025
The phrase “Now is the time” is a common idiom that urges immediate action. It implies that the current moment is the most appropriate or opportune for something to happen. It’s a call to action, suggesting that delaying would be a mistake.
-My art is a love letter that I want to give to the world, and at the same time, it’s our private conversation, our unique sense of belonging. My art is here to provoke a war inside us. It’s about recognising your strength, your power, through my words and drawings.
-Now is the Time is not just a phrase, it is an invitation. It asks us to pause and confront the present — the only space where transformation is possible. The past dissolves into memory, the future is always uncertain, but the present is where we can truly see, feel, and act.
This work emerges from the tension between the intimate and the universal. It is both deeply personal and infinitely collective. Each drawing, each word, holds a mirror to what we carry inside — our fears, our resilience, our capacity for love, and our need for belonging.
By declaring Now is the Time, the work insists that strength and awareness are not abstract concepts, but forces already alive within us. It is a call to recognise them, to use them, and to share them.
YOU MUST HAVE FELT SO ALONE
LONDON 6-2025
I placed a series of hand-drawn pieces in public space across London — fragments of text and image that speak from the intimate, and toward the collective.
Each work begins in something deeply personal — a memory, a tension, a conversation with someone real.
But it doesn’t stay there.
Because when we speak honestly to one, we often speak to many.
This body of work reflects on solitude, invisibility, and the way digital culture reframes perception — a world of curated surfaces where emotion is polished and discomfort is hidden.
References to Virginia Woolf, iconic female figures, and the quiet violence of emotional suppression run through the drawings, especially as they echo through women’s lives.
Each piece is intentionally placed — a visible trace, not just left behind but offered.
It’s a dialogue: between me and someone I’ve known, between me and the city, between you and whatever it stirs in you.
It’s not about permanence.
It’s about presence.
I MISS U
I MISS US
I’M NOT HERE
I’m scared
because there’s
only 1 of you
NYC 5-2025
“I Miss U, I Miss Us”, “I’m Not Here”
and “I’m scared because there’s only 1 of you”
are part of a sticker-based interventions I created in New York City.
The teaser that i made for this work includes a video of Meryl Streep speaking about Kramer vs. Kramer, where she says:
"It’s about a woman who leaves..."
That line became a lens for this work — highlighting the contrast between a conscious act of leaving and the quiet, passive abandonment we experience today through digital life.
This work speaks about presence, disconnection, and the quiet violence of apathy.
It’s a reflection on how society often misjudges emancipation — especially when a woman chooses to walk away with intention. Meanwhile, we normalize disappearing emotionally or collectively, numbed by overstimulation and distraction.
One of the stickers says:
“I’m scared because there’s only 1 of you.”
I first wrote that in 2012, and was about love and longing…
Today, it returns with new meaning.
It’s about cherishing presence —
the terrifying beauty of knowing someone is irreplaceable.
And how vital it is to be fully here in a world that constantly pulls us away.
This work speaks to Americans, but it speaks to all of us.
The phrase “I miss U. I miss US”, written in the colors of the American flag, is not just personal.
It’s a soft alarm. A call to awaken.
A whisper asking:
“Can you come back to yourself?”
“Can we come back to each other?”
My work is always rooted in love and empathy.
If there’s pain in it, it’s tender.
If there’s critique, it’s human.
This is a love letter —
and an act of resistance.
beauty is in the eye of the beholder
IZMIR 2-2025
Beauty is elusive, a shape-shifter molded by time, culture, and the eye that seeks it. It’s both personal and universal, a force that can lift or trap, adore or consume. My work has long danced with this idea, unraveling its contradictions, its ironies.
I first met beauty in a book as a child, where kindness and grace intertwined but never quite became the same thing. One does not guarantee the other. We can be kind without being beautiful, and beauty—raw, striking, objectified—can be a prison, as seductive and cursed as Dorian Gray’s reflection. We crave it, we claim it, we break beneath it.
This piece is about that tension. About how a face can become an altar, a battlefield, a commodity. But also about the kind of beauty that breathes—that moves through connection, through fleeting moments, through kindness given without expectation. In Izmir, I felt that kind of beauty. In the streets, in the faces of strangers who became friends, in the weightless joy of simply being.
DIME DIME DIME
-
AYER
DIJISTE
MANãna
This work is a tribute to Madrid and Spain, a place that holds deep personal significance for me.As in much of my work, there is a deliberate duality and ambiguity. At first glance, the phrases may seem desperate or uncertain, yet the women appear strong and self-assured, creating a contrast between language and presence. The messages also reflect the overwhelming nature of contemporary life—how information is constantly imposed upon us, often without our consent.
Beyond their literal meaning, these words carry a deeper personal resonance. The promise implied in them is not necessarily directed at another person but rather at oneself.
“REMEMBER THAT TIME WHEN WE CRIED” (FIRST DAY)
PHOTO OF THE DAY IT WAS MADE (12.2024)
“REMEMBER THAT TIME WHEN WE CRIED” (AFTER 2 MONTHS)
PHOTO AFTER 2 MONTHS.
ON YOU<3
(PRINTED PAPER)
180CM X 250CM
“NELLIE ” (PRINTED PAPER)
180CM X 250CM
“GIVE ME BACK ” “ONLY BRAVE FALL IN LOVE” (STICKERS )
Copenhagen 2024
“better to stare at u love” “i wish i didn’t wish so hard” (STICKERS )
Lisboa - Izmir 2024
