This series of etching prints reflects on the gradual disappearance of the body, both as an image and as an idea. Each print carries a sense of fading, as if the metal plate itself has been touched by time and slowly corroded, losing parts of its original form.

What remains are traces—shapes and gestures that still echo a human figure, yet drift toward abstraction. The body becomes a memory of itself, something that once was solid but now slips between presence and absence.

These works grow out of my earlier series of intaglio prints made from naturally corroded plates. In those pieces, the material dictated the transformation; the metal changed on its own, and I responded to what time had carved into its surface.

In this new series, I take a more active role. Instead of waiting for decay, I remove fragments deliberately, choosing what disappears and what stays behind. It becomes a dialogue between control and surrender, between the artist’s hand and the forces of erosion.

Through this conscious subtraction, I attempt to reenact what time does—slowly erasing, softening, dissolving. The prints become quiet meditations on impermanence. They explore how forms fade, how meaning shifts when something essential is missing, and how absence can speak just as strongly as presence.

In allowing the body to dissolve back into space, I invite the viewer to consider not only what is seen, but also what is no longer there. The empty spaces become part of the composition, carrying their own weight and resonance.

In this way, the works are not simply about decay, but about transformation—about how things return to the vastness from which they came, leaving behind only delicate marks of their existence.