Silver lining, 2014

Silver Lining belongs to an early stage of the artist’s practice, where painting operates as a space for constructing complex visual systems. The diptych format allows the image to expand across two panels, reinforcing fragmentation while maintaining continuity.

The composition brings together cartoon like figures, architectural elements, and abstract structures that coexist within a shifting environment. Perspective is unstable, with spaces that fold into each other and elements that appear cut, displaced, or reassembled.

Color and material are used to separate layers and intensify the density of the composition, producing an image that functions less as a scene and more as a field of interactions.

This work establishes a foundation for later developments in the artist’s practice, where these early strategies move beyond the pictorial surface into spatial and sculptural configurations. The logic of accumulation, hybridization, and layered systems seen here reappears in more recent works as expanded environments, where objects, structures, and bodies operate within interconnected systems instead of isolated compositions.