Gallery

Weather Channel

texture and perception

At the final days of 2025 while archiving weather broadcasts from the 80s and 90s, I noticed something unexpected. The emotional response wasn't coming from the forecasts themselves, but from their textures, colors, compression, and broadcast artifacts. At that time, my practice was primarily focused on contemporary digital textures, compression, and modern broadcasting systems. It felt less like remembering a program and more like remembering how television once looked. The question became: What happens when the visual memory of analog television meets the language of modern glitch art and controlled data corruption? and that question became the foundation of the series.

High moves offshore

Rainy

The project gradually shifted from being an exploration of weather broadcasts to an investigation of texture and visual memory itself. Texture began to feel like a form of memory. The surface of an image could trigger emotions before its content was even processed. It suggested that we don't only remember images, we also remember the material qualities through which we experienced them. This led me to think about perception as a continuous feedback loop. Visual textures shape emotion, while emotion changes how those same textures are perceived. Memory is constantly reconstructing the image, and the image is constantly reconstructing memory. That exchange became central to the work. In WEATHER CHANNEL, weather forecasting functions as more than a visual reference. It becomes a metaphor for constant transition, uncertainty, and the evolving relationship between human perception and machine generated images. The broadcasts became a framework for exploring how media itself carries emotional residue across time.