The work, ‘Inventory Studio Prenzlauerberg,’ emerged from a desire to uniquely capture the studio during the residency in Berlin, drawing inspiration from a tradition spanning four centuries of artists depicting their studios as subject matter. Employing a technique where impressions are made of the objects and the studio interior by placing them under primed linen and abrading the gesso surface with sandpaper to reveal the contour of the objects beneath, these images probe the boundaries between the real and representation, being a direct imprint of reality. These canvases function as documentary evidence of the residencies or studios worked in, like a “mechanical archive,” embodying tangible memories of the spaces and objects encountered. The technique used creates images that are ghostlike: simultaneously present and absent, reflecting the ambiguity inherent in perception and memory.