We walked without checking maps, turning down streets just because they looked interesting. At one point, we realized we had no idea where we were, but neither of us reached for our phones. Instead, we walked around exploring the views of the city.

A man installs a large banner reading “Live your life,” pausing on a ladder mid-task. His contemplative posture complicates the slogan’s directive tone, introducing ambivalence into New York City’s rhetoric of ambition and upward mobility. The ladder could be interpreted as alluding to the corporate hierarchy, but his thoughtful stance transforms the directive into a quiet reflection on personal choice and autonomy.

Human Traffic started as an attempt to photograph ordinary people like superheroes.but the light pushed it further.Sharp beams cut through the streets and carved individuals out of the crowd, turning commuters into protagonists and transforming daily movement into something cinematic. In these brief flashes, the constant flow of people becomes a kind of urban choreography.The series reveals the hidden drama inside everyday human traffic:the split-second moments where a stranger steps out of anonymity and looks like the main character of a much bigger story.

One of the biggest challenges for developing countries is overpopulation. Governments often fail to provide sufficient facilities and all the necessary rights for a large number of people. Consequently, low-income families engage their younger members in the workforce to supplement their household income. However, sadly, even in hazardous workplaces, the necessary safety measures are not properly ensured.

The work is an act of self-portraiture, a photograph of the body in front of a canvas painted with the artist’s own artworks.The body, placed at the center, blends with the background, as if wishing to dissolve, to be lost in the very surface it created. The photograph documents a moment in which the boundary between the artist and the art is no longer discernible.