The "Layer Paintings" series unfolds as a visual inquiry into the relationship between information, perception, and reality.
Their point of departure is abstract fragments – distilled traces from news imagery, social media feeds, and digital transmissions. Their origin remains only as an echo within the work: no quotation, no documentary collage, but a transformation into rhythmic structures, fields of colour, and condensations.
Executed on transparent supports, the paintings enter into motion within space. Folding, overlapping, shifting vantage points create a continual reconfiguration of the same material. The information remains constant – yet its appearance is unstable, contingent on viewpoint, temporal position, and gaze. Reality emerges here not as a fixed entity, but as a contingent, perspectival formation, constructed in the instant of its visibility.
The photographic translation frames this instability by extracting three states – like frozen segments of an endless sequence. Photography removes time from movement, compressing duration into a single, still condition. Flow turns into precision; the possible collapses into the fixed image.
The isolated images behave like stills from an unknown video track – fragments whose position in the sequence cannot be determined, whose length remains uncertain, whose beginning and end are absent. They appear as precisely composed moments and, at the same time, as parts of an unseen continuum. In this suspension lies a subtle restlessness: what is shown inevitably points toward what exists beyond the frame, without ever becoming visible. Visibility becomes a gesture of withdrawal – and each fixed form a placeholder for infinite, inaccessible states.
At the same time, the series underscores the tension between the analogue gesture and mechanical reproduction. The paintings bear traces of the body, of imperfection, of unrepeatability. The photographic print, by contrast, standardises, multiplies, regulates. At the core of Layer Paintings lies the transformation of a singular, fallible act into a perfected, reproducible artefact – revealing the mechanisms through which our culture of information formats reality.
Here, the image is not understood as proof or neutral document, but as the outcome of a series of decisions: of framing, sequencing, perspective. Layer Paintings insist on the void between images – articulating truth as a mutable figure, its form shifting with every gaze, every movement, every superimposition.
