Plane

To see is to acknowledge existence — and often to empathize with it. Yet there are moments when a scene provokes a sharp sense of distance between observer and observed. Vision, then, is revealed not as truth but as projection, shaped by memory and interpretation.

In an age of digital perfection and AI illusions, authenticity can no longer be assumed. Images impose their own realities, demanding either compliance or rejection. The possibility of the image as a natural mediator between consciousness and reality has grown uncertain.

Against this, imperfect images expose the fragile link between inner perception and the external world. A flaw, rupture, or unfinished surface does not assert authenticity — it resists it. In that resistance, the act of seeing is returned to the viewer, who completes the image through memory, knowledge, and emotion. Here, material is not a neutral support but an active presence; it becomes image itself, raising the fundamental question of how images come into being.