Second Home is a self-portrait series that reconstructs distant memories of my relationship with my homestay “siblings” during my high school years in Canada through staged photography. Informed by Sigmund Freud’s notion of the uncanny, the series considers how familiarity can persist within estrangement. By placing us in a minimal, carefully constructed scene and directing our bodies into stoic, doll-like poses, I emphasize both emotional closeness and psychological distance. The doll, as a familiar object associated with childhood, becomes a metaphor for memory itself: intimate, fragile, and slightly unsettling. In revisiting these shared but fragmented recollections, the work reflects on how people once deeply familiar to us can become unfamiliar over time, and how reenactment can transform memory into something quietly uncanny.