The Unknown series was developed as my art practice deepened alongside my studies and professional work in art psychotherapy. Influenced by Jungian thought, the works engage with image-making as a way of approaching what is not yet fully conscious—those inner states that resist direct language but surface through symbol, atmosphere, distortion, and association.

Rather than beginning with a fixed image or predetermined outcome, I work through a process of surrender, allowing materials to behave in ways that exceed control. Fluidity, instability, and chance become active collaborators in the making, opening space for forms to emerge that feel discovered rather than designed. In this sense, the unknown is both subject and method: a means of accessing psychological terrain that is shifting, layered, and only partially knowable. The resulting compositions occupy a threshold between abstraction and suggestion. They do not describe a singular narrative, but instead evoke the logic of the unconscious—fragmented, intuitive, and rich with projection. Like dreams or active imaginings, they invite meanings to arise indirectly, through feeling as much as recognition.

Photography is central to the series. Each final work captures a fleeting state within the process, preserving moments when wet materials remain in motion and the image has not yet settled. The camera allows these transient transformations to be held at the precise point where they are most alive, before they disappear. What remains is both document and image: a record of material change and a visual trace of an inner landscape in formation. Across the series, ambiguity is not treated as absence, but as potential. The works invite viewers into a space of contemplation in which personal associations, memories, and projections may unfold—opening a quiet dialogue between what is seen, what is felt, and what remains unknown.