At the core of the installation stands a hand-assembled robot constructed from reclaimed electronic waste. The body is soldered, welded, and visibly fragmented—an intentionally unstable assemblage that resists functional coherence.

This robotic figure is placed inside a wooden coffin, which material properties are pretty different from those of the scrap robot, functioning as a symbolic burial site for technological excess. 

The photographic works extend the concept into light, chemistry, and time. Produced with expired film, unstable development processes, water interference, and the burning of negatives, the images emerge through a chain of material instability. 

Here, the photograph is not a fixed image but a chemical echo of remnants, where light, decay, and material breakdown co-produce the visual field. Each print carries traces of processes that exceed control: expired materials, environmental contamination, and destructive interventions. 

The ritual elements—flowers, candle, condolence book, handwritten texts, and the fragrance of the flowers—introduce a social and affective layer to the installation.

Visitors actively participate in the formation of the work, inscribing language, presence, attention, and sensory engagement into its structure. These gestures become social echoes of remnants, where human interaction is not external to the work but materially integrated into its ongoing transformation.

The composition is based on melodic material in D minor all played by myself, a tonal center historically associated with mourning and gravity. These melodies were performed and then processed through a Max/MSP patch, which modulates the incoming sound in pitch and timestretch. This modulation was added at the original piece as an underlying meaning of decay.

Underneath this melodic layer, harmonic structures were generated through AI-based choral voices, which were instructed to “hum along” with the composition.