OTTO

The images that emerge from the abandoned neighborhoods of
Famagusta and along the Green Line prompt me to adopt the position of the invisible observer; a subject who withdraws to record not only the visual silence of the places, but also their emotional imprint: the sadness, the loss, the anguish, even the rage.

Ruins are not merely remnants of the past, but serve as dynamic carriers of memory and cultural experience. Abandonment, in this context, does not only imply absence, but also the existence of a potential narrative, a memory that resists oblivion. The "melancholy of ruins," as he describes it, constitutes an aesthetic and political field through which the consciousness of the historicity of the place is formed.

Empty spaces and saturated buildings silently narrate the stories of their abandonment to future generations, as they are captured through a personal, embodied gaze. The absence of human presence
makes these spaces static in time, trapping moments and allowing
a frozen memory.