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OVERPAINTINGS
In this series of “overpainted” works, each painting begins not with a blank canvas, but with a completed piece. The process reopens and reworks previous paintings, using them as a new foundation.
This approach challenges the modernist notion of the image as a resolved, self-contained form.
In line with Rosalind Krauss’s theory in The Optical Unconscious, the work operates on the unstable threshold between figure and ground, presence and erasure, making visible an image constructed through successive acts of negation.
Here, the image is never fixed but continually questioned. Painting resists its traditional role of representation, instead layering over and displacing the original subject.
What we see is merely the current surface of an ongoing process unfolding beneath.
OVERPAINTINGS
In this series of “overpainted” works, each painting begins not with a blank canvas, but with a completed piece. The process reopens and reworks previous paintings, using them as a new foundation.
This approach challenges the modernist notion of the image as a resolved, self-contained form.
In line with Rosalind Krauss’s theory in The Optical Unconscious, the work operates on the unstable threshold between figure and ground, presence and erasure, making visible an image constructed through successive acts of negation.
Here, the image is never fixed but continually questioned. Painting resists its traditional role of representation, instead layering over and displacing the original subject.
What we see is merely the current surface of an ongoing process unfolding beneath.