Domestic Disorientation begins from a condition in which space no longer provides stability or orientation. Figures are absent from the work. Instead, the compositions are formed by objects that have been used and remain. Worn, misaligned, or partially dysfunctional items persist without being fully discarded, existing in a state where they no longer properly fulfill their intended function. These objects are not simply remnants, but traces of bodily presence, records of use and sensory passage through space.

What emerges here is not merely instability, but a condition of being unable to fully depart or fully arrive. The objects remain “in use,” yet no longer offer reliable function. This reflects a mode of living in which life continues without reaching completion, sustained, but never fully resolved.

This condition is not understood as a matter of personal choice, but as something maintained through attachment and structure. Rather than reaching stability, we tend to remain close to what appears stable. The home is where this attachment operates most quietly. Familiarity, repetition, and ordinary objects hold us in place, preventing us from leaving while never allowing us to fully settle.

In this work, emotion is not expressed as an internal state. Instead, it appears as something that lingers within objects and spaces. Worn surfaces, misaligned functions, and traces of repeated use reveal where emotions have settled and continue to persist.