Residual Forms: Against Correction began with images that were never meant to survive. ©2025 — mixed media: damaged photographic negatives, AI-assisted visualization, digital composition.
The works in this series originate from damaged photographic negatives — scratched, partly destroyed, unusable by conventional standards. Rather than restore or digitally "fix" the material, I chose to work with what remained. The damage isn't an error to be corrected. It's a condition to be extended.
Each piece is composed through a dialogue between the original photographic residue and generative process — used to visualize what I perceived within the blank or ruptured space. AI here is not an author, but a tool for articulation: giving form to what was already present, and inaccessible. Every final image emerges from the composition of both — the irreparable negative, and the speculative visualization layered into it.
Visually, the works hover between botanical abstraction and light-based events — forms that resemble blooms, flares or eruptions without fully resolving into a single reference. These aren't symbolic flowers. They're residual gestures: traces of something interrupted, transformed, and allowed to persist.
Conceptually, the series resists the contemporary impulse toward clarity, polish and correction. It asks what might be gained by refusing resolution — by letting damage, ambiguity and interference stay visible. In that sense the work is about survival through distortion, and the quiet agency of what refuses to settle.
Residual Forms: Against Correction is not about repair. It's about coexistence — with loss, with process, and with the imperfect conditions that shape how images, bodies and histories endure.