“Natural Born Left-Handed Killer” is a research-based photographic project that investigates left-handedness as a constructed visual and cultural category rather than a purely physiological trait. Using left-handed gestures as an entry point, the project examines how certain bodily orientations become historically marked, regulated, and symbolically charged through images, tools, and representational systems. The project begins with a historical absurdity: the belief that the way one holds a pen or lifts a fork could reveal criminal intent. In 19th-century Europe, left-handedness was not merely regarded as eccentric—it was treated as biological evidence of deviance. Figures like Cesare Lombroso classified inmates by their dominant hand, convinced that bodily gestures could predict moral destiny. From this emerged a visual taxonomy in which physical posture was equated with guilt.

The project draws from archival imagery, instructional diagrams, sculptural references, and staged photographic scenes to trace how left-handedness has been associated with deviation, correction, suspicion, or anomaly within Western visual culture. From classical sculpture and scientific illustration to crime imagery, educational materials, and technical apparatuses, these images collectively contribute to a visual regime in which the “wrong hand” is repeatedly isolated, framed, or disciplined.

Through photography and installation, the project reconstructs these visual fragments into a series of controlled compositions: isolated hands, reversed statues, mechanical devices, cropped gestures, and framed photographic objects. Rather than documenting left-handed individuals, the work focuses on the visual mechanisms that produce left-handedness as a readable sign—how gestures are standardized, how tools enforce dominant use, and how images participate in the normalization of bodily behavior.

The resulting works combine still photographs, sculptural interventions, found images, and image-objects, forming a layered visual structure that oscillates between scientific display, museological presentation, and staged evidence. By treating images as operative devices rather than neutral representations, the project reflects on how bodily difference is constructed, stabilized, and reproduced through visual culture, revealing left-handedness as an image-based condition shaped by systems of observation, correction, and control.