Simurgh, for me, is not a bird but a problem—the problem of the human desire to see, to know, and to reconstruct what has never been fully available to us.

This series is an attempt to anatomize something that has no body. I approach the Simurgh not as a legend, but as a subject of dissection—as if metaphor could be translated into structure, and belief into biological form.

In this process, the boundary between inquiry and imagination becomes unstable. The desire to know gradually turns into the production of evidence. At a certain point—almost imperceptibly—we begin to fabricate a second layer of fiction for something that was already fictional.

These works dwell in that moment:
the moment when the pursuit of understanding carries us to the edge of illusion—without our noticing the shift.