These works are mixed-media interventions on found black-and-white sports photographs. Archival, documentary images are overlaid with dense cobalt-blue mark making, drawn with a tactile, crayon-like pressure that leaves visible grain and shifts in intensity. The composition becomes a field of diagonals, a kind of net or scanning layer that cuts across bodies and space, turning a readable scene into something charged and unstable.

By interrupting the clarity of the original photographs, the series explores how “evidence” and collective memory are always mediated. The gesture acts like noise, censorship, or a heightened diagram, amplifying themes of discipline, numbering, and control already present in sport imagery. Installed as physical prints, the works sit between mechanical capture and human insistence, asking the viewer to look through interference and question what gets preserved, overwritten, or made invisible.