Almost Human (2024-25) emerged as an experimental exploration in neo-expressionist form, seeking to embody a sense of vulnerability through sculptural form. While rooted in personal reflection and growth, the series does not offer fixed interpretations. Instead, it invites viewers to project their own narratives, transforming each piece into a site of dialogue. In this way, Almost Human becomes both a record of my own development and an open space for collective reflection on the complexities of memory and translations of daily life.