This installation is part of an ongoing inquiry into photographic space and conditions that shape perception. It reflects on how photography organizes what we see—and what remains invisible.  The images are late 19th-century architectural photographs from a state archive in Iran. Though they should be publicly accessible, state control has rendered them unavailable. What circulates instead are degraded digital leaks. Enlarged far beyond their intended scale, these images disintegrate into coarse surfaces where buildings lose clarity. What remains is not architecture, but its disappearance rendered visible.

The archive is fragmented, and so are the images. Printed as scrolls and suspended in a former parking garage turned gallery, the photographs are physically disrupted: some loop backward so the top appears inverted, while others are divided across multiple scrolls. To see the whole image, viewers must walk—circling, repositioning, encountering parts and gaps. Strategically placed mirrors reflect fragments, adding a layer of spatial disorientation and visual echo.

The broken archive becomes a broken image. Rather than clarify the past, the installation exposes the instability of representation and the politics of visibility. It invites viewers into an unresolved space—where image, history, and perception fracture rather than settle.