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While working between photography, sculpture, and installation, focusing on the physical properties of image-making materials, I engaged directly with materials, shaping their transformation through experimental processes. Photography often demands precision, but I am more interested in revealing what is usually unseen—its textures, vulnerabilities, and breaking points. Within the project, I worked with a variety of materials, transitioning from photographic thinking to sculptural interpretation, exploring how they evolved and intersected in new ways. The process was key—working with fire, heat, and chemical reactions, I allowed materials to respond in their own way. My approach was intuitive, hands-on, and open-ended. The work remained in flux, never fully complete and still evolving. Beyond material transformation, repetition and sustained observation played an essential role. By repeatedly engaging with the same processes, I emphasized subtle shifts in the material’s response, positioning myself as both creator and observer of change. I exposed photographic paper to light and intervened with fire, uncovering hidden structures within its surface. Film, as another light-sensitive material, reacted differently— I pushed it to its limits, exploring the threshold between formation and collapse. Some works retained a connection to photography through chemical treatments, while others deconstructed film to its most basic form, reducing it to transparent layers dyed in symbolic darkroom colors.