And Then It Happened
130 × 100 × 4 cm
Acrylic on canvas.
Part of the “And” series of paintings that combine multiple images.
This painting, composed of four interwoven panels, evokes a profound sense of the future—not as a distant timeline, but as an atmosphere that reshapes the present. Each quadrant functions like a portal into a parallel reality, unified by spectral hues and luminous, layered textures. The top sequence shifts from celestial abstraction to moments of human presence in nature, mirroring the awe-filled poetics of Terrence Malick’s The Tree of Life. Like Malick’s film, the work doesn’t offer a fixed narrative but suggests a metaphysical rhythm—cosmic yet deeply intimate. The bottom panel, depicting a bowed figure cradling a dark orb, conjures the solemn tenderness of discovery, suggesting a communion with something larger, possibly unknowable.
The painting’s dreamlike quality parallels the philosophical gravity found in Tarkovsky’s Solaris, where reality bends under the weight of memory, emotion, and the vast unknown. There is a similar tension here between the terrestrial and the cosmic—sunlight slicing through fields, the glint on a shoulder, or the gravitational pull of the orb—all enveloped in a surreal atmosphere that expands perception. In Tarkovsky’s cinematic language, the future is not technological but spiritual and psychological, and this work resonates with that vision. Time in the painting seems suspended, allowing each scene to breathe with both anxiety and wonder, as though the world we think we know is being rediscovered in real time.
Critically, the painting’s segmented form invites multiple readings, aligning with the ideas of Jacques Rancière, who emphasized the viewer’s role in producing meaning through what he called the “distribution of the sensible.” There is no single story here, no imposed resolution. Instead, viewers are asked to wander across scenes, stitch together associations, and generate emotional or metaphysical interpretations of their own. This non-linearity reflects the shifting landscape of contemporary visual culture, where meaning is not consumed but composed. Ultimately, the painting doesn’t depict the future as a destination—it renders it as a feeling: strange, radiant, and just within reach.
Free shipping anywhere in the world.
130 × 100 × 4 cm
Acrylic on canvas.
Part of the “And” series of paintings that combine multiple images.
This painting, composed of four interwoven panels, evokes a profound sense of the future—not as a distant timeline, but as an atmosphere that reshapes the present. Each quadrant functions like a portal into a parallel reality, unified by spectral hues and luminous, layered textures. The top sequence shifts from celestial abstraction to moments of human presence in nature, mirroring the awe-filled poetics of Terrence Malick’s The Tree of Life. Like Malick’s film, the work doesn’t offer a fixed narrative but suggests a metaphysical rhythm—cosmic yet deeply intimate. The bottom panel, depicting a bowed figure cradling a dark orb, conjures the solemn tenderness of discovery, suggesting a communion with something larger, possibly unknowable.
The painting’s dreamlike quality parallels the philosophical gravity found in Tarkovsky’s Solaris, where reality bends under the weight of memory, emotion, and the vast unknown. There is a similar tension here between the terrestrial and the cosmic—sunlight slicing through fields, the glint on a shoulder, or the gravitational pull of the orb—all enveloped in a surreal atmosphere that expands perception. In Tarkovsky’s cinematic language, the future is not technological but spiritual and psychological, and this work resonates with that vision. Time in the painting seems suspended, allowing each scene to breathe with both anxiety and wonder, as though the world we think we know is being rediscovered in real time.
Critically, the painting’s segmented form invites multiple readings, aligning with the ideas of Jacques Rancière, who emphasized the viewer’s role in producing meaning through what he called the “distribution of the sensible.” There is no single story here, no imposed resolution. Instead, viewers are asked to wander across scenes, stitch together associations, and generate emotional or metaphysical interpretations of their own. This non-linearity reflects the shifting landscape of contemporary visual culture, where meaning is not consumed but composed. Ultimately, the painting doesn’t depict the future as a destination—it renders it as a feeling: strange, radiant, and just within reach.
Free shipping anywhere in the world.
130 × 100 × 4 cm
Acrylic on canvas.
Part of the “And” series of paintings that combine multiple images.
This painting, composed of four interwoven panels, evokes a profound sense of the future—not as a distant timeline, but as an atmosphere that reshapes the present. Each quadrant functions like a portal into a parallel reality, unified by spectral hues and luminous, layered textures. The top sequence shifts from celestial abstraction to moments of human presence in nature, mirroring the awe-filled poetics of Terrence Malick’s The Tree of Life. Like Malick’s film, the work doesn’t offer a fixed narrative but suggests a metaphysical rhythm—cosmic yet deeply intimate. The bottom panel, depicting a bowed figure cradling a dark orb, conjures the solemn tenderness of discovery, suggesting a communion with something larger, possibly unknowable.
The painting’s dreamlike quality parallels the philosophical gravity found in Tarkovsky’s Solaris, where reality bends under the weight of memory, emotion, and the vast unknown. There is a similar tension here between the terrestrial and the cosmic—sunlight slicing through fields, the glint on a shoulder, or the gravitational pull of the orb—all enveloped in a surreal atmosphere that expands perception. In Tarkovsky’s cinematic language, the future is not technological but spiritual and psychological, and this work resonates with that vision. Time in the painting seems suspended, allowing each scene to breathe with both anxiety and wonder, as though the world we think we know is being rediscovered in real time.
Critically, the painting’s segmented form invites multiple readings, aligning with the ideas of Jacques Rancière, who emphasized the viewer’s role in producing meaning through what he called the “distribution of the sensible.” There is no single story here, no imposed resolution. Instead, viewers are asked to wander across scenes, stitch together associations, and generate emotional or metaphysical interpretations of their own. This non-linearity reflects the shifting landscape of contemporary visual culture, where meaning is not consumed but composed. Ultimately, the painting doesn’t depict the future as a destination—it renders it as a feeling: strange, radiant, and just within reach.
Free shipping anywhere in the world.