This collection is not about the objects themselves but about the meaning they once carried and how that meaning is systematically altered, diminished, or erased. As tools of knowledge, communication, and faith become transient, their authority is no longer inherent—it is dictated by relevance, convenience, and market-driven evolution. What was once revered for its intellectual, aesthetic, or functional significance is now absorbed into a culture that values immediacy over depth, spectacle over substance.

Through precise, minimal interventions, Objectified Beliefs reconfigures these remnants of thought. Objects are stripped, reassembled, juxtaposed, or distorted—not to destroy their identity, but to extract new possibilities from what remains. By shifting elements, altering structures, and placing them in unfamiliar contexts, the works expose unseen tensions: What happens when an artifact of knowledge is stripped of its text? When an item designed for function becomes an object of abstraction? When belief, once fixed, is forced into a state of uncertainty?

The collection critiques how modernity desensitizes perception, conditioning individuals to overlook the embedded histories and constructed ideologies within objects. As a result, what was once deeply symbolic is now aestheticized, reduced to decoration, or rendered obsolete through constant replacement. The works confront this phenomenon, not by lamenting loss, but by reactivating presence—allowing what has been dismissed to reclaim its space in a new conceptual dialogue.

In doing so, Objectified Beliefs challenges the viewer to question: How do objects dictate what we believe? How does a shift in form alter perception? And in a world where everything is disposable, can meaning ever be permanent?

By embracing both absence and presence, reduction and transformation, the collection stands as an exploration of the liminal space between belief and abandonment—a confrontation with the transient nature of thought and the silent endurance of the material world.