In the exhibition Lost, the exploration of personal memory—and memory itself—becomes even more direct. Printmaking proves to be a particularly fitting medium for this inquiry, as the very act of printing, together with the medium’s capacity for reproduction and dissemination, functions as a mechanism of remembrance.

Mishe begins by returning to a childhood memory of his family’s first car. Although he clearly remembers its make and model, almost every other detail has faded. This prompts him to reflect on other lost memories and to question whether some of them ever truly happened. The car becomes a symbol of memory itself—fragmentary, unstable, and elusive.

From this idea emerges a visual representation in the form of a car scrapyard: a place where lost memories resurface only to be erased completely, recycled, or transformed into something entirely different. Drawing on his own experiences and recollections, Mishe invites us to consider broader questions surrounding the tension between the objective and the subjective, and ultimately, the nature of what we perceive as real.