Previously, my focus was on direct intervention between objects and space. However, over time, I shifted to consider how I could capture changes in the form of bulky waste and environmental shifts as they evolve with time. The ordering principle of these objects and materials, further emphasized by photographic intervention, evokes a primitive, improvised sculpture—a picture within a picture, featuring an earlier photograph of the same arrangement from the same angle. Thus, comparing these two images is essential.
What interests me most is the gap between the added layer and the space or object itself. Although there’s a temporal gap between the two, I leave them at a specific point in time, allowing them to exist in parallel. This synchronic time opens up intriguing speculations about the balance of composition and chaos, intention and chance, utility and uselessness, meaning and meaninglessness, intervention and documentation. I aim to capture the spatiality of objects and the three-dimensionality of their arrangement, creating room for varied interpretations and speculations through small-scale image interventions.

 While time itself is linear, time in the image is superimposed.