In The Labyrinth I Become, Cagi places the relationship between image and eyes as a contemplation. What is vision? What is visible? Who sees? The one who can see what? Our perception is in the midst of an overflow of information and visual flood, shaken relentlessly by the increasingly dissolving boundaries between virtual and real experiences. Homo digitalis - humans who interact or 'act' in cyberspace - are now experiencing what is called decorporealization, banalization and disembodiment of the self. That is, by simply moving one's thumb, acting instantly or reflexively and feeling like one exists as a global traveller floating in the advanced world of the internet.

In this work, Cagi traces the sensory pathways and images that never die there, like layers of a labyrinth reflected in our eyeballs. How in the present, the intertwining of human presence exists in an anonymous yet fluid space-time. Such an impression is immediately apparent in the stack of images in her two large, 'raw', and analog painting areas. Cagi presents paintings within a painting in which we also see the presence of another painting. The configuration of the parts of this work forms the image of a control panel. The various images in the paintings within this painting are collected from the corners of the exploration of vision and imaginary consumption: cinema, mass media, social media browsing, image-collecting applications and other momentary images. In this series, the texture of memory - which is inseparable from perception, and vice versa - is re-embodied by painting, becoming a labyrinth sediment in the eye.