In The Fading World, the gaze moves within an unstable field, where the world seems to exist constantly on the threshold: between light and darkness, matter and shadow, presence and absence. The boundaries between the external and the internal become porous. It is a world that is not captured but leaks, a world where light does not reveal. It passes through filters, seeps across surfaces, encounters shadows and distortions. It becomes a material of memory. Figures, traces, and silhouettes exist only for a moment, in that fragile interval where something ceases to be but has not yet disappeared. The forms inhabit the in-between; they dissolve, making space for uncertainty, and what we see is the resonance of the gaze itself. The form withdraws so that memory may appear. This series does not speak about things that have passed, but about the way they remain within us. Here, reality is not recorded, it is recalled. The black-and-white tonality, the light leaks, the blurred contours become materials of time. The world appears the way we remember it: altered, silent, fragile. The Fading World does not depict a world that is ending, but a world that is transition.