The series began with a leaked photograph from Abu Ghraib prison, showing stacked bodies of prisoners — an image that, for the artist, echoed the piles of corpses from Nazi concentration camps and became a starting point for examining violence and the human capacity to turn others into objects.
Over time, these “piles” evolved in form and meaning. They began to appear brighter, composed of old toys once belonging to the artist’s family — objects her grandmother started sorting after the death of her uncle. Through this shift, the work moved from an inquiry into political violence and collective trauma to a more intimate exploration of loss and memory within a personal, domestic context.
