These photographs were taken during the pandemic when going outside to take pictures was impossible. Confined to our homes and severed from our daily routines, I knew I could not photograph in the way I was accustomed to, in the concrete form I had personalized for myself within the art of photography. Here, with a Deleuzian approach, assuming that the art of photography itself harbors different potentials beyond any concrete form it has materialized into, I realized that if I could dissolve its current solid state within me and make it fluid again with a new desire, I could take photographs again. All photography attempts are formed by the potential of photography itself slowly solidifying and materializing into a certain solid form through specific flows and desires, but a single project, a single period, can never contain all the potential of photography. Photography always harbors other potentials beyond its current concrete state. There is a ‘surface’ between the potential held within the art of photography itself and the artists who are currently producing it; this surface is a place where the solid dissolves and the desirable can be found again. Both in a concrete sense and in a Deleuzian sense, I tried to photograph these surfaces with my macro lens. ‘Surface Science’ is the story of encounters on surfaces, traversing every corner of the house. Even without going outside, I challenged the boundaries of my understanding of photography and opened a new window by strolling on these surfaces. I saw things I had not seen before and discovered a whole new world.