Blind Field takes its name from Roland Barthes's concept of "punctum" in Camera Lucida, where the "blind field" extends beyond the photograph's edge, suggesting meaning that exists beyond what is immediately visible. This series examines the unseen labor, energy, and material economies embedded in image-making, focusing on the apparatuses and tools used to create photographs, which often appear instant and effortless. Through animistic sculptures of these tools, the work signals the extractive industries that sustain the photographic medium—both in the production of equipment and in the process of creating images. Lighting and staging techniques borrowed from commercial still life emphasize the illusion of production value, which often obscures the labor and capital behind image production. Materials like plastic, central to photography since the mid-20th century, are arranged in reference to historical works—ranging from Lilly Reich’s industrial installations to the movement of drapery in Renaissance painting, described by Aby Warburg as driven by an "imaginary breeze" beyond the frame. Warburg’s "breeze" is reinterpreted here as a metaphor for the invisible forces—economic, political, and cultural—that shape both photographic tools and the images they produce within the image economy