Thing Seventeen, 2025;

Thing Ten, 2023; Things reflects my ongoing fascination with the 17th-century Cabinet of Curiosity—early collections where science, art, and mystery came together in unpredictable ways. Like those cabinets, my work gathers objects into new constellations, where meaning emerges through arrangement, intuition, and material presence. Each image begins with a physical process: I place everyday items on a sheet of glass, light them from above, and photograph them from below, lying on the studio floor. This reversed perspective transforms simple materials—chicken bones, onion skins, feathers—into sculptural, almost alchemical forms. Some objects come from personal collections, some are found by chance, and others are gifts. Each carries a trace of lived time. Influenced by philosopher Byung-Chul Han’s Non-things, this series responds to the growing disappearance of tangible objects in our digital age. Where today’s world is often dominated by data and disembodied images, Things reclaims the physical: textures, weight, fragility, and decay. These are not just still lifes—they are meditations on material presence. Often, a composition begins with a single object—a dead young rat found on the street, for instance—around which others are arranged ritually, like items washed together after a flood. Guided by the fragmented logic of curiosity cabinets, I combine natural and man-made elements, old and new, precious and discarded. Whether translucent or opaque, each object contributes to the creation of another form—something in between sculpture, photograph, and momento mori. Something that asks to be looked at slowly. Something that insists on being a thing.