This painting is part of a series called El Antiproyecto — a made-up Spanish word that could be translated as the project that will never be finished. The series includes three large-format works that capture three intense episodes, emotionally speaking, and six smaller pieces that give more context to what each episode is about.
El Antiproyecto was born from a trip I took to Marrakech with my boyfriend — my first trip outside the European Union. What impressed me the most wasn’t just the chaos of the souks, the warmth of the people, or the intensity of unfamiliar scents, but the breathtaking way Moroccans combine colour: deep ochres, soft pinks, burnt oranges — painted across the city like a quiet, ancient language. The whole experience felt like a contradiction — rich, disorienting, vibrant, and grounding all at once.
This series isn’t about recreating the trip. It’s about preserving the emotional texture of a moment suspended between beauty and rupture — a moment shared with someone deeply loved, but tied to something that could never fully exist. In that sense, the series remains unfinished — always an antiproyecto.
