As a self-taught emerging visual artist, Mirov creates hybrid works incorporating collage and aerosol paint, which are textured along the way using various media that she experiments with – either in the creation of large-scale paintings or street collages that adorn the walls of the metropolis. Using the same digitally rhythmed mashup and hyper-saturated colour aesthetic, the artist also creates her immersive multimedia installations.

In fact, the immersive aspect of Mirov’s works constitutes an essential role both in the  artist’s creation process, and ultimately, in the viewer experience that she wishes to convey to the public. Greatly inspired by the enveloping sound and lyric qualities of music and their effect on her imagination, Mirov intends for each of her creations to serve as a type of instantaneous moment captured in time, dragged directly from a video clip into a surrealist universe that she invites the public to venture into. From the comet roses pouring down on boxer-astronauts, to mauve eagles soaring above a gigantic golden chain holding a disfigured clock, each collaged element holds symbolic importance in the story told by the piece.

Despite the post-Internet era in which Mirov’s collage images are digitally produced, modified, multiplied and enlarged, the artist retains a sense of nostalgia in her choices of methodology and supports, such as the use of television screens in her multimedia installations. In addition, when the time comes to create her collages, Mirov favours a conventional printing process, and the manual superimposition and cutting out of images with scissors. This approach enables her to little by little construct an imposing piece, and to see it come to life as she stratifies each layer of imagery and meaning.


But beyond the aesthetics and techniques employed in her paintings, Mirov’s choice to highlight the Lo-Fi/High-Fi dichotomy is representative of her response through her artwork to a challenge facing her generation. Despite a more and more information technology- and communications-soaked world, it is often more difficult to feel connected to oneself and to others.

Deeply fascinated by the relationships we cultivate with the self, and their impact on our individual psychological experiences, characters constantly appear as central subjects in Mirov’s work. While they are always surrounded by elements serving to contextualize the message of the work, it’s through the eyes of the characters that the artist hopes to prompt viewers to question themselves, and perhaps recognize themselves.

In fact, regardless of the piece, Mirov always has the same intention: to push people to further question themselves regarding their own natures, perception of self, inner dialogues, and the limitations they impose on themselves. For Mirov, the use of the street as an exhibition setting creates an inviting and spontaneous context for experiencing the work, thereby facilitating these sorts of introspective reflections amongst the public. With a pseudonym meaning “human” in Kurdish, Mirov’s art is aptly centred around the human experience.

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