Born in Ulaanbaatar, Mongolia

Lives and works in Los Angeles, CA

Artist’s Statement

My work deal with resistance in various ways. My research and investigations are focused on transformations and adjustments of living and non-living things, ideas and perceptions caused by social circumstances. Dealing with such subject matters my works tend to explore possible ways of immunity and adaptations, inasmuch as resistance equals growth.

I am very aware of my roots. As an artist, I am intrigued by Mongolian tales, riddles, and proverbs, which make me aware of how Mongolians have constructed an intellectual communicative mindset that is derived almost completely from their livelihood and surroundings. Because of this I now investigate socially constructed taboos, rituals, superstitions, and habits that we do not easily recognize in our everyday lives. Such things are changing rapidly, so my aim is to create a dialogue between the past and present.

I put myself into environments where given meanings shift and I want to question their essence. So my works deal with resistance in various forms, such as the concept of reincarnation taking many different states of being. Everything is in a state of potential transformation but there is resistance always in growth and survival.

The use of materials and how they change in my work is important conceptually and visually. The use of wood in my works possesses several reincarnated forms, such as cardboard, plywood, sawdust and papier-mâché, which give an idea of shifting shape and presence of things. Polyurethane foam suggests impermanence and time that is relative to everything as it passes. My sculpture Empty Man speaks to human existence in our society, yet it is so simple and otherworldly. Our consciousness takes over whatever body was given to us. Polyurethane foam, here and gone quickly, also implies our own ephemerality. Working with this material gives me a meditative feeling in the present, just as when gravity pulls the wet foam figures to the center of the earth.

The fact that I am attracted to found or retrieved materials may be reminiscent of the movement arte povera, but the ideas and issues that I am addressing are almost timeless and very much tied to contemporary life, as previously encoded understandings change and become more of a hybrid versions of the originals.



2019     MFA Candidate, University of California, Los Angeles, CA

2015     City University of New York – Hunter College (BA)


Solo Exhibitions

2015     Hybrid Resistance, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia


Group Exhibitions

2019    A Temporality, Mongolia Pavilion, Venice Biennale, Venice, Italy

2018     UCLA MFA Preview Show, New Wight Gallery, Los Angeles, CA

2016     Group Exhibition at Swatch Art Peace Hotel, Shanghai, China

2016     Fictive Dreams, Brother Joseph McNally Gallery, Singapore

2016     Contemporary Art of Mongolia IV, Art Space 976+, Ulaanbaatar, Mongolia

2016     Golden Brush, Art Gallery of UMA, Ulaanbaatar, Mongolia

2015     Space, Art Gallery of UMA, Ulaanbaatar, Mongolia

2012     Y(our)s,  Clemente Soto Velez Cultural Center, New York, USA

2012     Faces Ink,  Gallery Bar, New York, USA



2013     Fantasy Fountain Fund Project at Modern Art Foundry, Queens, NYC, USA



2017     59 Rivoli, Paris, France

2016     Swatch Art Peace Hotel Art Residency (3 months), Shanghai, China

2016     Tropical Lab-10, Singapore

Breath in Breath Out 2015
polyurethane foam and packaging tape
178x60x55 cm
Super Massive Black Hole 2015
sawdust and cardboard
160x50x50 cm
Karma Comma 2014
mixed media
50x25x20 cm
Distance of Deepness 2015
sawdust, cardboard and horns
55x160x58 cm
Shame 2015
Comfort Zone 2015
polyurethane foam and packaging tape
110x80x80 cm
Declaw 2015
sawdus, cardboard and horns
105x55x20 cm