The works convey a state born at the intersection of contemporary gothic imagination, digital folklore, and a fluid reality on the verge of collapse. As familiar symbols erode, the visual language shifts into a form of “cozy horror,” where anxiety is disguised as seductive ornament. Gothic motifs no longer return to tradition; instead, they act as a repressed force, concealing fragments of the cultural unconscious — traces of memes, phantom landscapes, and childlike fears embedded within post-industrial environments.

Within this imagery, the house becomes a key figure: overly familiar, highly stylized, functioning as a simulation of safety — a surface behind which glitches of memory and shadows of an exhausted reality flicker. The images lose their original function and appear as shells filled with echoes of cultural phantasms. This “camp gothic” emerges as a language that both frightens and plays, transforming horror into an aesthetic gesture that captures rupture, instability, and resistance to any coherent narrative.