*Photographic Figuration*  brings together works in which a photographic source remains perceptible while drifting into textile-mediated abstraction. Through single or layered sublimation transfers, the original image disperses into tonal veils that soften contours and register the subtle contingencies of heat, pressure, and material contact. The textile becomes a permeable image plane—responsive to light, marked by slight misalignments, and open to shifts that surface gradually through sustained looking.

Across these works, figuration is neither denied nor asserted; it appears as a quiet orientation within a more atmospheric field. Floral and arboreal origins provide structure, yet the emphasis rests on how photographic information settles, dissolves, or suspends within the textile. Together, they articulate an ongoing inquiry into the image as a soft, porous object—one that holds presence, drift, and material immediacy within a single plane.

The *Shadow Carrier * works explore how cast shadows behave when translated into textile form. Sublimation printing disperses the shadow across layered polyester, softening its edges into a diffused, shifting trace. The translucent veils absorb and scatter light, turning the shadow into a subtle presence that changes with the viewer’s position.

Minimal stitching gathers certain areas while leaving others open, allowing the textile to act as a soft image carrier rather than a fixed support. Across the four works, shadow becomes a responsive surface event—hovering between appearance and disappearance, and offering a quiet study of how an image can persist while remaining fluid and porous.

*Soft Architectures* brings together a group of materially driven abstractions in which photographic fragments are translated into quiet spatial constructions. Through sublimation printing, stretching, and the interplay of wooden and aluminum frames, each work inhabits the threshold between surface and structure. Images loosen into tonal fields—blurred ripples, divided color planes, subtle distortions—while the supports remain visibly present, shaping both the image and its encounter. Across the collection, the photographic becomes a site of gentle architecture: soft edges, porous boundaries, and material decisions that slow perception into a contemplative act.