About

In the post-photographic era, the significance of photography no longer lies in documenting objective reality, but in exploring the complexity of subjective perception. Roy's practice departs from photography's optical precision, pushing images toward the boundaries of abstraction and uncertainty through blur, multiple exposures, and digital intervention. This is not a technical failure, but a methodological choice—using the "unclear" and "unreal" to approach those subjects that cannot be fixed: life, time, void, fear, and the fluidity of memory.

Roy's work refuses to provide clear answers, instead creating a perceptual predicament. Images oscillate between stability and ambiguity, forcing viewers to confront the limitations of their own perception and enter a state suspended between recognition and disorientation. This instability is precisely the subjective truth he pursues—the world is not composed of clear forms, but woven from countless invisible tensions, fleeting moments, and ineffable sensations.

In an era of image saturation, his work points to a fundamental paradox: only when photography loses its authority to "prove the real" does it truly gain the freedom to explore the nature of reality itself.