In a world brimming with a myriad of images capturing landscapes, objects, and the vastness of life, If I want to say something, I have to offer a unique idea or experience to share.

My practice explores this question through what I call "perceptual disruption"—moments that fracture ordinary vision. Building on Susan Sontag's concept, I see photography as mutual transgression: the photographer invades the subject's world, while the subject invades the act of seeing. This collision, frozen in the image, becomes the true subject.

Through experiments with deconstructed time, extreme optics, cross-cultural visual philosophies, and the "mediated gaze," I investigate photography's capacity to transform perception. Each series—whether flattening massive ships into points against infinity or seeing through the embodied experience of turned-away figures—pushes beyond documentation toward new ways of feeling the world.

I envision photography's future not in creating singular originals, but in intelligent systematization and algorithmic transformation of images. Just as photography once freed painting from documentation, today's digital abundance enables the artist to become an architect of perceptual systems—constructing experiences impossible through any single image.

This is photography's contemporary purpose: not to capture reality, but to become the technology through which we construct new realities, expanding perception and revealing the invisible patterns of our oversaturated visual world.