Bringing plastic wrap into my art practice began as an experimental gesture. While commonly used in food packaging and industrial contexts for containment and protection, its fragile and temporary nature speaks beyond functionality. This material choice also led me to work with mass-produced, low-cost canvases rather than traditional linen or hand-primed surfaces. Both materials are ubiquitous and disposable—qualities that echo Hito Steyerl’s concept of the “poor image,” which challenges dominant aesthetic hierarchies by valuing circulation, urgency, and impermanence over clarity and polish.