In the series "2.0," the photographic print is treated not as a passive transparent window to reality, but as a tangible, vulnerable site of physical intervention. By employing destructive and reconstructive methodologies—such as tearing, burning, layering, and collage—the work actively disrupts the slick, idealized surface of the traditional photographic image to expose the friction beneath.

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This tactile manipulation of the medium serves as a direct material metaphor for the psychological fracturing and forced reconfiguration of the self, particularly within the context of socio-cultural expectations imposed on the individual. The act of tearing apart and binding together portraits and mundane objects becomes a visceral processing of trauma, memory, and structural violence. Through these scarred surfaces, the binary boundaries between creation and destruction, growth and decay, are thoroughly dissolved.

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"2.0" functions as a conceptual rebirth. By violently dismantling the original image, the work rejects the prescribed narratives dictated by societal conventions. What remains on the altered surface is a collective archive of vulnerability and resilience—a poignant testament to the ongoing, turbulent process of reclaiming one's autonomy and piecing together a newly defined identity from the fragments of the past.

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"Creating through eight destructive techniques:

1. Splitting — Technique: Tearing — Like cells constantly dividing, deconstructing, and reconstructing.

2. Living Flame — Technique: Burning — Symbolizing passion, eternal emotions, the emotional transformation of the essence of photography (emotional temperature), and the abandonment of the unsuccessful (rebirth of images).

3. Trampling — Technique: Crushing — Confronting criticism and denial, self-questioning, and conceptual transformation.

4. Resistance — Technique: Chewing — Reflecting the avoidance of failure, eventually needing to confront the unsuccessful outcomes."