Since ancient times, reflections have occupied a strange and sacred place in human imagination. In many cultures, they were seen as more than surface echoes—they were messengers from other realms, vessels of the soul, or fragile boundaries between the real and the otherworldly. From mythological tales of enchanted mirrors to superstitions warning against broken glass, reflections have always been treated with a mixture of awe and caution.

This series emerges from that timeless fascination. But instead of literal mythology, I explore how reflections function today - not only in glass and water, but in our perception itself. Working solely in black and white, I remove the distraction of color and lean into distortion, ambiguity, and atmosphere. What is captured here are not just mirrored surfaces, but altered realities-moments where the ordinary becomes unfamiliar.

There’s a Surrealist undercurrent running through this project. Like the Surrealists, I am drawn to the tension between reality and dream, the visible and the imagined. Reflections displace logic. They bend space, reverse time, collapse inside and outside. They allow the world to be both present and elusive, just as dreams often do. Each image in this series plays with that tension: asking not just "what is this?", but "what could it be?"

To me, reflections are not about clarity - they are about discovery. When someone recognizes something in a reflection, they often project part of themselves into it. That moment of recognition reveals something deeply personal, even if the source is external. What we see in these mirrored surfaces might not be what others see. And that, perhaps, is where the surreal begins - not in fantasy, but in the subtle dissonance between shared reality and private perception.

This series invites the viewer to slow down, to notice, and to consider that what is “unseen” is not always hidden—it may simply be waiting for the right kind of attention.