Domestic Disorientation begins from a condition in which space no longer provides stability or orientation. Familiar objects appear worn, displaced, tilted, or altered through use. Some retain their recognizable forms while no longer performing as expected. A structure loses its balance, an object designed for movement becomes immobile, or a flower remains in bloom despite its broken stem. These objects carry traces of bodily presence through their surfaces, positions, and repeated use.

Rather than treating these conditions simply as damage or failure, the series asks what determines how an object, a body, or a life is expected to function. The objects continue to exist after their expected order has been disturbed. They remain present and sometimes still in use, but no longer align naturally with the functions or structures assigned to them. What emerges is a condition of being neither fully broken nor fully functional, neither fully departed nor fully settled.

Stability, within this work, is not something naturally given. It is continuously produced through adjustment, repetition, maintenance, and attachment. The home becomes a space where these processes operate quietly: familiar objects and routines provide continuity and comfort, while also requiring constant adaptation in order to sustain a sense of stability. Rather than reaching stability, we often remain close to what appears stable.

Emotion therefore does not appear as an internal state to be represented directly. It accumulates through contact, repetition, and use. Worn surfaces, uneven weight, misaligned functions, temporary repairs, and displaced objects become material traces of attachment, fatigue, and persistence. Through these conditions, Domestic Disorientation asks what keeps us attached to structures that no longer fully support us, and what it means to continue living without returning to a state of complete alignment.