STATEMENT

My practice unfolds from experiences of falling outside institutional structures, and is driven by questions surrounding time, the body, and the visible and invisible dimensions of life.
During my youth, distancing myself from the institutional space of school constituted both a social rupture and an opportunity to develop perceptual pathways that diverged from established frameworks. Later, through music as a time-based art form, I immersed myself in environments where body, emotion, and collectivity intersect, gaining a visceral understanding of how expression connects human existence to others.
Within my musical practice, I took on roles in composition and management as the leader of a band, performing in live houses characterized by immediacy and collective intensity. There, I engaged in constructing expressions of continuously flowing time, where sound, light, bodily response, and interaction with audiences emerged simultaneously. Expression in this context was never fixed, but constantly renewed in the present moment.
Conversely, my experience working in education provided a perspective from within social institutions, prompting me to reconsider expression from another angle. While working with students who had disengaged from formal schooling, I prioritized the sharing of lived, bodily experiences through dialogue rather than the transmission of knowledge. In this process, I became increasingly aware that the act of seeing another person—and responding to the fragility of their lived existence—is itself inseparable from artistic practice.
Photography was chosen as a medium along the extension of these experiences. Whereas music continuously generates time, photography interrupts and suspends it. Within this suspension, traces of the body, environmental presence, and invisible tensions remain latent. I became particularly interested in this movement embedded within frozen time, which led me toward photographing wildlife.
In photographing wild animals, what is at stake is not their symbolic representation, but the ethical and bodily question of how to confront beings that exist at a distance from human language and institutional systems. In these encounters, anthropocentric perspectives are destabilized, and the relationship between seeing and being seen becomes inherently unstable. My photographs do not aim to document nature or offer naturalistic representation; rather, they function as sites where the boundaries between human and wild, life and death, visibility and invisibility are momentarily exposed.
Since 2022, after resuming my independent practice as an artist, I have been exploring installation-based approaches that traverse musical temporality and photographic stillness. My works do not resolve as isolated images, but emerge as total environments incorporating space, light, and the physical movement of viewers. Within these environments, viewers are invited to traverse temporal fissures and to confront their own bodily perception.
My practice is not an expression of personal memory, but an attempt to reconsider the conditions of human existence through marginalized forms of perception, encounters with the wild, and the manipulation of time. By employing photography as a quiet medium, I seek to bring forth the threshold between life and time as a spatial and bodily experience.