anything real should be a mess

this series began through experiments with plexiglass, mirrors and constructed light. although rooted in photography, the images gradually move away from documentation and toward abstraction. surfaces dissolve into colour fields, spatial depth becomes unstable and the objects themselves begin to disappear. the works draw a parallel to mark rothko’s exploration of colour as an emotional and psychological space. rothko attempted to create paintings that were not simply viewed, but physically experienced — images capable of producing a sense of presence, tension and contemplation. similarly, these photographs use reflection, blur and layered surfaces to destabilise orientation and create environments that feel suspended between material reality and perception. rather than capturing a fixed subject, the series focuses on the act of seeing itself. the camera becomes a tool for transforming physical objects into shifting atmospheres of colour, light and uncertainty, where abstraction emerges directly from reality instead of being constructed outside of it.