My work attends to the image as a haunted object. Influenced by Roland Barthes' concept of the "filmic" as an ineffable affective layer beyond narrative, found in the fragmented film still, and by media theorists exploring spectrality, the image doesn’t point back; it unfolds forward, shaped by its own deterioration.
A fleeting moment of film, illuminated through screen and captured on camera, resembles an image in motion and continues in its journey of decay. Already transformed by its origin in motion-picture and transmission across screens, the still image carries traces of corruption, glare, and entropy. Selected less for what it depicts than for how that depiction is disrupted, the image moves toward abstraction. What emerges is not a stable record, but an archaeology of becoming: a layered excavation of affective resonance, investigating media decay and memory as a process of recollection and construction.
Within this unfolding, memory operates not as a stable repository, but as a mutable process. The work is guided by this residual charge: the way feeling undergoes its own cycle of erosion and transformation, altered through repetition and material fatigue. In this space where representation falters, materiality takes over. Layered surfaces, print residue, and painterly interruption become mechanisms folding time into images, allowing past and present states to permeate one another. Memory collapses distance while history reconstructs it; the work exists in that charged in-between, where images are continually re-made through accretion.