In my practice, I focused on the fragmentation and reconstruction of memory, treating space as a container for recollection. However, as my practice developed, I began to question this logic — can all memories truly be pieced back together? Through the repeated acts of drawing and erasing, I gradually realized that absence itself can also be a form of truth.

 

At this stage, my attention shifts from construction to incompleteness. By using fading materials, blanks, and blurring, I attempt to capture fleeting moments. The work exists in an unstable state between appearance and disappearance — constantly dissolving even as it is being viewed.

 

My interest in “incompleteness” stems not only from the fragility of memory but also from a reflection on the power of seeing. When an image is not fully presented, the viewer gets control. their gaze is forced to drift between obscurity and emptiness. This uncertainty of viewing, instead of closing off meaning, opens up a new spatial possibility — turning the act of seeing itself into a subject of inquiry. My work operates within this tension, allowing the hidden parts to gain agency, and making “what cannot be seen” another form of expression.