The Darkroom series inhabits spaces where encounter, desire, and bodily sensation reach their highest intensity. Darkness here is not simply a condition of concealment; rather, in the suspension of clear visibility, the body relinquishes its fixed contours. Perception and senses converge, and the experience slips into a suspended register in which touch, proximity, and intuition supersede sight.

Figures emerge without stability or singular definition. Bodies intertwine, boundaries dissolve, and the distinction between self and other becomes porous. This indeterminacy mirrors the emotional architecture of intimacy itself—where closeness and distance, attraction and hesitation, connection and withdrawal coexist within the same relational realm.

Yet the freedom suggested by the darkroom remains transient. The eventual return to illuminated spaces, where bodies are once again rendered legible, categorized, and subject to regulation, obliterate the momentary liberation provided by the darkness. The series traces the emergence of desire in these suspended moments and how darkness operates not as a permanent refuge, but as a threshold—an interval that provides an alternative sensory order before dissolving back into visibility.