Human experience constitutes both the origin and residue of artistic production. Each encounter...however transient...reconfigures the epistemological frameworks through which we perceive and construct the world. In this sense, nostalgia becomes not merely a sentiment of loss but a phenomenological condition: a site where temporality, memory, and materiality intersect to shape aesthetic consciousness.

My practice engages this intersection through photography, found materials, and mixed media assemblage. Drawing from Barthes’s conception of the punctum and Sontag’s notion of the photograph as both presence and absence, my work explores how images function as mnemonic devices...objects that oscillate between documentation and invention. Through intuitive and process-based methods, I seek to externalize the instability of memory, translating the personal archive into a form of shared visual language.

Influenced by Bourriaud’s theory of relational aesthetics, I view the artwork as an open system rather than a closed statement. Meaning is not prescribed but co-authored...emerging through the viewer’s phenomenological engagement and subjective interpretation. In this dynamic, nostalgia becomes an active methodology: a critical lens through which both artist and audience negotiate the porous boundaries between past and present, individual and collective, material and immaterial.