This early photographic work explored the desire to communicate internal emotional states through direct physical interventions with images. Film negatives were cut, photographs burnt, and prints altered as a way of disrupting conventional representation and introducing vulnerability into the photographic surface.

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Through acts of self-inflicted distortion, the work attempted to externalise feelings of anxiety, disconnection, and the need for recognition. These altered images functioned as fragmented self-portraits, offering viewers a partial and unstable entry point into the artist’s psychological landscape.

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Rather than documenting reality, the project positioned photography as a site of emotional translation, where personal experience could be transformed into material form.