A Second Without Inertia presents a sequence of trance-like moments in which time no longer follows a clear, linear direction. The images move through a suspended temporal space where fragments appear, drift, and reappear without belonging to a fixed past or present. Each moment seems isolated, as if time has briefly lost its momentum.

The series is built through a form of imaginative archaeology. Artificial fossils and fragments connected to childhood memory are brought together within the frame. Removed from their original context and function, these objects appear displaced, suspended between artifact and invention. They resemble relics from an uncertain past, suggesting histories that may never have existed.

This ambiguity between fabrication and discovery is central to the work. The fossils do not document an authentic past; instead, they act as speculative remains. Through them, the images question how memory forms and transforms. What we remember rarely arrives intact, it is reconstructed, altered, and shaped by imagination.

The atmosphere of the photographs recalls drifting states of childhood thought. Bath-time daydreams provide an entry point into this mental space, where the mind moves freely between observation and invention. In such moments, ordinary objects easily shift meaning: bubbles become planets, water becomes landscape, and small objects acquire unexpected significance. The images move within this same territory, where recognition and abstraction exist side by side.

Rather than presenting childhood as something distant or nostalgic, the series approaches it as a living force. Childhood appears as a mode of perception that allows objects to be reinterpreted and reorganized without restriction. Within the photographs, this energy returns through acts of rearrangement, play, and transformation.

Time inside A Second Without Inertia feels weightless. Without inertia, without the force that pushes one moment into the next, events do not accumulate or advance. Each image holds its own temporal space, detached from sequence or progression. Memory fragments, invented artifacts, and imagined histories coexist within the same suspended moment.

The result is a field where archaeology and reverie intersect. Fossils that never existed are treated as discoveries, while childhood memories appear as shifting landscapes. Meaning remains open, moving between recognition and invention.

For a brief moment, time releases its forward pull.
Objects remain suspended, free from the direction that usually defines them.