This work is a tribute and reflection on Man Ray—a pioneer of Dadaism and the inventor of the rayograph technique. I arranged common hand tools—hammers, screwdrivers, and wrenches—on photosensitive paper to create a silhouette portrait of him, without using a camera, relying solely on light and intuition. This process was not merely a visual experiment, but an attempt to reconstruct a figure who blurred the boundaries between art and experimentation.

The tools I used were not chosen purely for their aesthetics, but as symbols of constructing meaning. In the spirit of Man Ray, who challenged conventional visual perception, I employed everyday objects as metaphors to deconstruct and reassemble the way we see and think. For me, the photogram is a meditative practice—a direct engagement with material, where shadow becomes a spontaneous language.

Though separated by time, I feel connected to Man Ray through a shared spirit of experimentation and the courage to liberate medium from technical constraints. The rayograph is not just a technique—it’s an attitude: a celebration of unpredictability and absurdity as essential parts of the artistic process.

By composing a portrait of Man Ray out of tools, I attempt to reconstruct the Dadaist spirit—art as a free space, always shifting, questioned, and reassembled.