The Hunting of the Snark is a series that unfolds as an inward journey, using landscape and architecture as mirrors for interior states. These works do not describe specific places so much as mental spaces, passages, and pauses, where emotion is  suspended, and quietly resonant. The title, drawn from The Hunting of the Snark, frames the series as an elusive pursuit, a search for meaning, certainty, or self that is driven by rigor and intention, yet never fully resolved. Across the series, hard lines and simple geometric shapes establish a sense of control and structure. Roads, walls, corridors, and planes recede toward vanishing points, guiding the gaze inward rather than outward. This perspectival creates an introspective tension. The viewer is invited to enter, but what lies ahead remains ambiguous. These spaces often feel uninhabited, emphasizing notions of presence and absence. Human traces appear without human figures, environments suggest memory, or expectation, yet remain silent and still. Organic elements such as trees, vegetation, and slopes of land interrupt or border these rigid constructions. Nature appears restrained, almost contained, in dialogue with architectural rigour. This coexistence reflects an early exploration of balance between intuition and discipline, between the organic and the constructed. The emotional tone remains minimal and restrained, closer to quiet contemplation than expression, where feeling emerges through proportion, distance, and restraint rather than gesture.