With “Librarian 2024,” I made a conscious decision to continue and expand the series, moving beyond creating variations of a single idea. The earlier works were strongly defined by the direct interaction between hand and book, and this time I wanted to take a step further by giving the image more space—literally.
For the first time, a clearer environment emerges. The body is no longer isolated but placed within a scene. The chair, the posture, the downward gaze, the positioning of the hands—everything feels more grounded, yet more controlled at the same time. The book remains central, but it is no longer the only element carrying the image.
I worked with myself again as a reference to capture the posture and physical tension as precisely as possible. During the process, the piece continued to evolve, especially in the lower section. The floor initially felt too empty, almost too quiet, and gradually filled with additional elements—books, objects, small details that were not planned but ultimately gave the composition balance.
 
For me, this was the point where the series began to open up. Moving away from a single, dominant motif toward something that can grow without repeating itself. Since then, “Librarian” is no longer static—it develops, with each year introducing a new approach while staying rooted in the same core.