Melancholia: Whitened Furniture Series, operates as a sustained inquiry into the socio-material conditions of memory under late modernity. Comprising one hundred items of domestic furniture uniformly painted white, the series stages a radical suspension of use, affect, and biographical specificity. The gesture of whitening is neither neutral nor merely aesthetic; it is an operation of erasure that paradoxically intensifies historical density. Within a socio-plastic framework, these objects are not isolated sculptures but nodes within a mesh of lived relations—family, labour, habit, and loss—now rendered spectral. The furniture, stripped of chromatic difference and functional immediacy, becomes a surface upon which collective time settles.
