This group of works is presented through printmaking, embroidery, watercolor, and video.

The central work, The Source of Light, is an installation consisting of a wooden pallet covered with a quilt made from 150 cyanotype prints, accompanied by a series of watercolor paintings. The cyanotypes combine images of weapons with images of the sky, while the wooden pallet refers to improvised beds used by civilians sheltering in basements during shelling.

The watercolor works respond to the moment when light is seen before the sound of impact is heard. Suggesting the shape of a window, the images appear unstable and fragmented. Their translucent layers function as a metaphor for traumatic memory, where experiences cannot be fully erased.

A series of anthotype photographic prints presents fragments of flashbacks. The impermanence of anthotypes reflects the instability of traumatic memory, while embroidered texts become a metaphor for trauma embedded permanently within the body and psyche. These works are hidden behind lacy curtains, requiring viewers to invade these intimate spaces to see them.

The video work focuses on everyday actions that may appear unfamiliar in a safe environment, yet become part of ordinary survival during war.

Although each work exists independently, the series is connected through the tension between domestic objects, everyday rituals, and the shifting meanings they acquire in wartime.

Photography and video traditionally function as forms of documentation and testimony. During the siege, however, the loss of access to communication, documentation, and the ability to share lived experience became a part of the trauma itself. By using these media, the artist reclaims agency as a witness.