Everyday, during my childhood, I walked about three kilometers to school and I often crossed the railroad track under the bridge in Ulaanbaatar City. I was fascinated by the moving railroad cars. Sometimes I waited an hour to watch the railroad cars moving. One day as I stood there I got a “doodle” moment in my mind. It was my first inspiration to do something powerful. I can remember this day as clearly as the day it happened . I can remember the strong orange mongolian sun, the dazzle of the rails like a laser beam and strange smell from rusted iron machine parts.

I started to be an artist to study Mongolian flat painting and Thangka painting at the Mongolian University of Art and Culture Ulaanbaatar. My works, at that time, used various symbols rather than depicting Mongolian nature, people and their life concretely. These symbols include: Mongolian Mystic myths, earth and sky, water and fire, whispers of wind, or wild creatures. Mongolian and Thangka painting, which is my background, documents events, such as cave paintings representing our past times in ancient history. They also demand great mastery and skill in drawing and perfect understanding of iconometric principles. It involves composition of complex actions laid out in a single scene, without any limitations in space or time.

Later graduating from University of the Arts Berlin allowed me to take the main concept from Mongolian flat painting to blend this into to contemporary art. This is the opportunity for me to develop my works and to establish my personality by blending my unique background, imagination and experience.

My works express concrete situations including globalization and conflicts, discoveries and innovation of human history, mostly based on current events heard through Mongolian, English, German, Russian and international radio. I do not express my ideas directly to prevent guiding the viewer to their meanings. Some parts of my works provide clues to this challenge, like paying respect to a tradition using a twist of irony, humor or sarcasm.

Under the influence of radionews, storytelling, the occult and nature these works are drawn together like parts of irony to create a surrealistic reality. Within my work I probe the current issues of tourism and wilderness, actions and consequences, submission and dominance, consumption and environment that play out in the physical and psychological space between tamed and untamed worlds.