Homo Economicus, Ink and gouache on paper,
Homo Economicus/ˌhəʊməʊ ˌɛkəˈnɒmɪkəs,ˌhɒməʊ ˌɛkəˈnɒmɪkəs/another term for economic man. "using rational assessments, Homo economicus attempts to maximize utility as a consumer and economic profit as a producer"
Capitalism has been interpreted as an exclusively profit-centric human engagement. Some have been saying to bring people and the planet in the picture. This can be a good change, but it is still not fully operationalized. Are you putting people, planet, and profit at the same level? - Mohammad Yunus
Wondering about where are we human on the evolution scale? I am trying to understand the term ‘Homo Economicus’, while living within the dichotomy of comfort (careless sleeping figure) and the overwhelming industrialisation around. I work on the confusion of living in extreme dichotomies, utopia and dystopia at the same time.
Playing with the semiotics of the forms and style, the farmland painted in traditional miniature style to Victorian oval frame, I use diasporic cultural archives. It aims to initiate a discourse around the Industrial Revolution and the colonial past. The farming land is on a black background and the golden frame, in contrast, to indicate the unfair usages of natural resources and uneven distributions of wealth. And Chirico’s painting maps the surreal reality and loneliness of the modern era.
Capitalism has been interpreted as an exclusively profit-centric human engagement. Some have been saying to bring people and the planet in the picture. This can be a good change, but it is still not fully operationalized. Are you putting people, planet, and profit at the same level? - Mohammad Yunus
Wondering about where are we human on the evolution scale? I am trying to understand the term ‘Homo Economicus’, while living within the dichotomy of comfort (careless sleeping figure) and the overwhelming industrialisation around. I work on the confusion of living in extreme dichotomies, utopia and dystopia at the same time.
Playing with the semiotics of the forms and style, the farmland painted in traditional miniature style to Victorian oval frame, I use diasporic cultural archives. It aims to initiate a discourse around the Industrial Revolution and the colonial past. The farming land is on a black background and the golden frame, in contrast, to indicate the unfair usages of natural resources and uneven distributions of wealth. And Chirico’s painting maps the surreal reality and loneliness of the modern era.

Gothic, global and fish eye, Ink and gouache on paper,
The word ‘Gothic’ and its journey over the centuries interested me as it resonated with the dichotomy I experience. The etymology of the word implies overwhelming monumentality and darkness/horror at the same time… it encompasses the flipside of the coin too, rather questions the meaning of flip itself.
Continuing the satirical lines of Grant Wood’s “American Gothic’ I explore the journey away from the villages and the conflict between the visual and experience of the city. The title of this painting is ‘Gothic, Global, and fish-eye’ is a reflection on the evolution of the American dream.
The chic dining table is full of food yet the eater is missing,
The scarcity and excess is just a matter of side
The labor is awarded a fisheye
The hope of seeing ‘the whole fish’ is still starving…
Continuing the satirical lines of Grant Wood’s “American Gothic’ I explore the journey away from the villages and the conflict between the visual and experience of the city. The title of this painting is ‘Gothic, Global, and fish-eye’ is a reflection on the evolution of the American dream.
The chic dining table is full of food yet the eater is missing,
The scarcity and excess is just a matter of side
The labor is awarded a fisheye
The hope of seeing ‘the whole fish’ is still starving…