War has intensified discussions around migration and the quest for a better life, as communities are dismantled and new ones emerge elsewhere.

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Even during the pandemic, the question of where to live took on new significance, with many trading apartment living for houses with gardens, seeking outdoor space during lockdown. City-to-suburb migration surged as private homes became prized. But in wartime, this shifted: private houses became targets, eroding people's sense of security and driving them to seek refuge, whether in cities or new lands where they wouldn't need to flee or hide.

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The question of where to live has lingered across time—a challenge brimming with hopes and trials.

In the series Alternative Geography, I work with color as an emotional and structural force rather than a decorative one. By photographing a colorful game cube from multiple angles and deconstructing and reassembling it into new forms, I construct imagined environments that allude to gathering, proximity, and provisional communities. Each image comprises many frames, meticulously layered to build complex visual architectures. These compositions emerge from fragmentation, holding together moments of collapse and repair, and tracing a fragile pursuit of belonging or the possibility of a future home.

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The resulting works depict places not as conventional houses but as assembled structures, often bordered by fences that mark protection as much as separation. Color animates these spaces with vitality and optimism, yet its intensity also introduces friction—suggesting alertness and vulnerability. This tension between visual liveliness and underlying sorrow is central to the work, allowing hope and loss to coexist within the same image.