Manus

A few years ago, I embarked on a photography project called "I Have Not Photographed Everything Yet, But It Is on My List." 
In this work, I captured moments when visitors in art galleries engaged with artwork by snapping pictures with their smartphones. Finally, I juxtaposed these images with quotes from Susan Sontag’s essays, collected in her 1977 book “On Photography,” to see whether those thoughts still hold in the world of Instagram.

As I considered the next step, I contrasted these smartphone users with those who set aside distractions to fully immerse themselves in the visual experience. However, I found the plant comparison between viewers with cameras and without cameras rather uninspired.

A few years ago, I embarked on an intriguing photography project titled "I Have Not Photographed Everything Yet, But It Is on My List." This project focused on capturing visitors' interactions in art galleries as they engaged with various artworks. Using my camera,
I documented moments when individuals immersed themselves in the art, particularly those who took out their smartphones to snap pictures. By doing this, I aimed to highlight the contrast between contemporary technology and traditional art appreciation.

Instead, I shifted my focus away from both smartphones and faces, concentrating solely on the viewers' hands, often folded neatly behind their backs. I interpret this posture as a sign of surrender to the artwork: the hands become metaphorically “unemployed,” relinquishing their control while the viewer’s gaze remains entirely absorbed in the experience of the art.

For me, these folded hands symbolize the viewer's first derivative—a quiet yet profound curve of attention that indicates a moment of contemplative engagement with the artwork. Through this perspective, I aim to capture not just the act of viewing art, but the deeper emotional connection and reverence that it can inspire.

Manus 1

Manus II

Manus III

Manus IV

Manus V

Manus VI

Manus VII

Manus VIII