He holds a master's degree in Film Studies and pursued a doctoral program in Communication Sciences, lecturing on narratology while researching semiotics and art theory. He worked for more than fifteen years as a FIPRESCI member film critic, curated the Hidden Gems section of the Istanbul International Film Festival, and spent over a decade in theatrical distribution and film acquisitions.^1,4 Alongside this he worked as a DJ and composer of electronic music,^1,4 designed more than a hundred movie posters as a creative director,^1,4 and began making digital paintings in 1999, a practice that grew into thousands of works over the following two decades.¹

His 2023 collection Overpopulated Symphonies, 300 works released under Post Photographic Perspectives with Fellowship,^2,5 renders crowded urban scenes as fields of dots, using crowd density as a metaphor for the overload of information in daily life.² A related 150-piece collection, All Watched Over By Machines Of Loving Grace, its title borrowed from the 1967 Richard Brautigan poem, revisits the visual language of industrial photography to critique a culture increasingly mediated by screens.³ In 2025 he collaborated with the photographer Edward Burtynsky on Hypertopographics, a series of pigment inkjet prints reinterpreting the New Topographics movement of landscape photography for an era of industrial scale and technological complexity,^3,6 shown at Heft gallery in New York as part of the exhibition “Truth or”.⁶ His work has been included in Christie's first AI-dedicated auction¹ and, as part of the Némo digital arts biennale, in the group exhibition “Dopamine” at Le Cube in Garges, France.⁷ That same year he also completed the documentary Post Truth, which he describes as the first fully AI-generated film to receive a theatrical release.¹