For me most of my surreal thoughts begin in a dizzy state of mindlessness or the moment before I fall asleep. I usually first see the image then I dig deeper into the emotion and it starts to make sense. When I first saw Mysteriovisions art I got this sense of being in a labyrinth. The building looks isolated and almost in the middle of nowhere. It's dreamy and yet lonely. I am terrified of drowning and pools so the image evoked, at the same time, a sense of calm solitude and doom. The watery lady rising from the pool was first just a dizzy glimpse but then it made sense to me. I was trying to take control of the shapeless liquid I am terrified of and she rose as a rebillion to death. Her rising brought back the sense of safety in the image for me and it felt just right.

Both "a language of memory" and "a rebellion against absence" is how I use eroticim. To elaborate , almost everytime I use erotic figures I am trying to find the thickest most exaggerated way to express those bodies. We are at our most expressive and present selves when we are intimate in the right setting and art for me is all about evoking the most intense emotions so I use eroticism as a tool for this purpose.

Water for me is both terrifing and suffocating and yet to be able to control it is soothing and gives a sense of power. From a young age I have been obsessed with the kind of magic that bends the elements , specially water, into something less chaotic and deadly. It's more accurate to say I am obssesed with controlling the form of water as if I can control death.

Most of the times I love the scenery and forms Mysteriovision creates that I image my characters in the boundries of that scenery so I rarely need him to change anything for me. They are a source of inspiration and a surge of emotions for me rather than a background to bend to my ideas.

I think art can actually act as either a beautiful lie or the complete opposite : the harsh truth since we tend to forget alot of our own reality when we get caught up in life. This is one of the drives of creating for me ; to either relieve my audience from reality for a few moments or slap them with some truth they might miss in their everyday life (truth can relieve you in its own way too) and I think some dose of this is absolutely necessary for us to stay sane.

Idealistically I want my audience to connect in a deep personal way to my art. For example I want them to look at the woman rising from death and remember the times they thought about death or the time that they had a near death experience and dream about life after death. I want them to feel the joy and weightlessness of the woman rising from the water , how she leaves the life she once had behind as if all the pain in that life is so small compared to the enormous presence they now possess. It is the intense emotions that I want my audience to feel.

I think the way they look calm and carefree is how they might feel about the life they left behind. How they are not exactly themselves anymore but rather a presence that only "is" . This is another dream of mine too : that if there is life after death it's only about presence in its pure sense , no pain to burden us anymore as if all the experiences we once had is too small for this new being and yet she is not drowned in absurdity, she does not need anything to feel absurd or incomplete. I don't like the notion that we will exist after death to cherish our lived memories or watch over our loved ones. I'd like to think if there is a presence it's only there to observe and absorb all the mystery that we couldn't fully grasp in our time being alive. Simply being a giant who can see the whole world with a few steps is more than enough.

I think how Mysteriovision and I have completely different creative styles is how make these collaborations work . My creative language is storytelling and he creates static serene scenes where I can imagine my characters in.

It is quite unintentional that the static, calm forms of Mysteriovision's art represents a kind of carelessness towards the stories my dynamic and excited forms tell ; or at least my mind seeks this absurdity in our collaborations.

Even though this collection is derived closely from a personal experience , it comes directly from years of thinking about the death of my loved ones. As much as I want to think about my own experience after death I care more about the ones I love as I think being left completely alone is far more frightening than ceasing to exist. Like many I have dealt with the fear of loss intensley and I have used dreaming and my own imagination to deal with it as much my logical mind allowed.

Usually if I end my stories in a soothing way it is intentional. Sometimes I feel like the reality of the story is too harsh to also end it without any closure ; but almost always I hid a melancholic hint in the end for the ones who seek it.