I am interested in Leonardo DiVinci's figure drawings and anatomical sketches. His exploration of ideas and exhaustive research have inspired my practice. As I continued with my exploration, I broadened my search to include philosophical, scientific, and artistic ideas. Contemporary philosopher Susan J. Brison has been a major influence on my practice. A quote that has inspired much of my work comes from his book, Aftermath: Violence and the Remaking of a Self. He said: “We are our molecules; our deepest fears, joys and desires are embodied in the chemical signals of our neurotransmitters. But we are also meaning makers, inventing and deriving our own stories, our own idiosyncrasies, our own crazy plots, our own unpredictable outcomes. How can we make sense of the fact that we are both?”1 This is the question I try to explore in my work. Recently, I have been exploring Francisco J. Varela's ideas of the portable laboratory. He said: “Human beings, in their situated and rooted life, actually constitute a topographical place (the body, the self) where procedures and gestures can be performed to directly explore the human experience itself (the research).” In practice, I seek to explore both the physical and psychological aspects of trauma and healing. I seek out other artists for inspiration and affirmation regarding my work. I am certainly not the first artist to portray ideas about the body and its fragility. Hannah Wilke, whose work dealt with ideas of beauty and vulnerability, is perhaps one of the most influential artists for me. Although her work is very different from mine, I believe that fundamentally she was asking similar questions to society through her work as me. When I first saw his work, I felt f... in the center of the paper... or on the outside? This dichotomy is related to the idea of ​​separation, or even conflict, between mind and body. Are the two separate or are they symbiotic and entirely dependent on each other? Just as some people believe that meditation can clarify or synchronize the mind and body, my work is a process that symbolically expresses trauma, illness and death, beyond what is evident from a physical body, bringing about a similar synchronization . Works Cited Brison, Susan J. Consequences: Violence and the Remaking of the Self. Princeton, NJ: Princeton UP, 2002. Obrist, Hans-Ulrich, and Elfasson Olafur. Experimental marathon. Reykjavik Museum of Art, 2014. Robertson, Jean and Craig McDaniel. Contemporary Art Topics: Visual Art After 1980. New York:, Oxford UP, 2013. Scarry, Elaine. The suffering body: the making and unmaking of the world. New York: Oxford University Press, 1985.