My artistic practice explores the contrast between complex human perception and the way technical apparatuses produce images. Photography serves as both the subject matter and the medium: through manual, process-based interventions such as folding, layering and shifting, I examine the overlap between image space and real space, and the way in which these tensions influence perception. A central concern of my current work is the negative colour space familiar to those who grew up with analogue photography. For those who grew up with film, the negative represented a moment of suspension, a stage between potential and realisation. In digital processes, however, this intermediate space has largely disappeared.

In earlier works, I explored inversion in black and white, transforming shadows into white lines that no longer receded into the background, but instead stood out as independent structures. This shift reveals how strongly our perception is influenced by established visual expectations. During the residency I will expand my work with inversion from black and white into color. I plan to start with painterly gestures in CMYK colorspace, which are photographed and then inverted. This double translation transforms the painted surface into a negative, shifting the roles of color, shadow, and line within the image. Photography here is not conceived as an endpoint but as a passage that opens further possibilities. Once the images are printed, I intend to reapply fragments of the photographed elements back onto the surface, aligning them with the shadows and forms they once generated. This creates a loop between manual gesture and photographic mediation, where original and reproduction, material trace and optical effect remain in constant negotiation.

The project will examine how colour, shadow and space change when passing through different material and technical systems. Here, inversion functions not as a visual effect, but as a method for questioning perception itself.