Supposing the strength of photography is to record the ‘never-returned-moment’, then why should photographs in photographic art be recorded and exhibited only as pictures in rectangular frames? My first solo photo exhibition had led me to this question, which in turn, shed light on the limitations of photography and made me question further, the ways in which photographers can dialogue about those captured moments with their audience in an inclusive manner. I also have questions about photographers’ own memories and impressions that beg answers. My previous works were based on the obsession of memory and the visualization of the obsession of my memory with other people. This obsession is based on social and personal causes that originate from my lonely childhood when I had a lot of time to think alone. As a result, I become obsessed with social relationships, friends and relatives, as well as with my own experiences. It is not only a timid complaint about those who are not concerned about memory, it is also a strong lamentation against myself who forgets or distorts memory as a human being.