MELANCHOLY

Melancholy presents itself as a portrait, but functions as an unstable archive. The image does not document a real body; instead, it reconstructs a presence from visual fragments that simulate memory. The face appears as evidence, yet it lacks a verifiable origin. Its precision — the skin, the symmetry, the details — does not confirm its existence, but rather intensifies suspicion: what are we really looking at? This work operates within a logic of reconstruction, where identity is assembled as a possible testimony rather than a fixed fact. Melancholy does not emerge from a concrete loss, but from the inability to distinguish between memory and fabrication. In this sense, the image is not a portrait, but a trace: a record of something that could have been, but never was.