The ideal is a luminous form, but also an extended shadow. This photographic series does not seek to represent ideals, but to ask where they come from, which bodies have carried them, which images have sustained or destroyed them.

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Along that path, the color red is neither an ornament nor a closed symbol: it is the visible trace of an invisible process. Red binds, pierces, and tears the images apart. It is blood, yes, but also desire, punishment, command, and radiance. It is the color that marks, exposes, stigmatizes, and beautifies. It is what shines and what hurts.

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Genealogy is not nostalgia. It is excavation. This series digs into the history of the ideal: here, red does not harmonize but insists. It is the residue that refuses to be erased.

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Each image is a fragment of that history, a small scene where the ideal appears and unravels. There is no conclusion, no redemption—only a persistent question about how we have learned to see, to desire, and to chase the unattainable.