In the SOUVENIR series, I explore how memory becomes attached to objects, places, and images, and how these associations shape perception over time. Memory here is not treated as a fixed narrative, but as a layered and shifting structure.
The paintings depict silhouettes of figures within interiors an d landscapes. These silhouettes are not empty forms; they contain other moments within them. Different times and situations coexist in a single form, compressed into overlapping visual layers.
Ordinary objects and seemingly insignificant spaces—corners of rooms, fragments of landscapes, overlooked details—become carriers of meaning through association. They become charged and accumulate emotional and temporal significance, functioning as triggers for recollection.
A souvenir, in this context, is not simply an object from a place visited, but acts as a physical anchor for memory itself: a physical anchor for something intangible and no longer fully accessible. In these works, I make this process visible by layering different moments within a single form.
Rather than presenting stable images, the paintings show how perception is constantly interrupted and rewritten by memory. What we see is shaped by what we remember, and what we remember is continuously reconstructed.
In a time of rapid image circulation and disposability, painting offers a way to slow perception down. By fixing these moments onto canvas, I return attention to subtle traces that shape how we experience time, place, and meaning.
