The works produced during this period investigate the fragile boundary between individual identity and collective presence. The human figure emerges repeatedly, yet never as a fixed or autonomous subject. Instead, bodies appear fragmented, layered, erased, or partially dissolved within unstable environments charged with psychological and social tension.
These paintings construct visual spaces where intimacy coexists with estrangement. Faces become obscured, gestures interrupted, and figures suspended between exposure and concealment. The image no longer functions as representation alone, but as a site where emotional residue, memory, and mediated perception intersect.
Color operates as both emotional force and structural disruption. Intense chromatic contrasts collide with muted passages, producing surfaces that oscillate between violence and silence, presence and disappearance. Through this instability, the works resist narrative certainty and invite a more fluid mode of perception.
The recurring human forms do not affirm identity; they question its coherence. Bodies appear entangled within collective formations, suggesting conditions of surveillance, alienation, psychological pressure, and social fragmentation. Individual presence becomes inseparable from the surrounding field that shapes and destabilizes it.
Within this visual language, painting functions as an open psychological landscape rather than a closed composition. Layers accumulate like traces of interrupted experiences, where abstraction and figuration continuously shift into one another without resolution.
These works ultimately reflect a condition in which the self is never fully stable, but continuously negotiated through memory, social structures, and the unstable mechanisms of perception itself.
