Residue of Touch

These works were created using remnants of acrylic paint that underwent a transformation from a wet substance to a dry material. They are traces of actions performed in the past, now coming together through a process of renewal and re-creation. The dried acrylic paint, left behind on the palette at the end of each workday, was rehydrated the following day until it could be peeled off. Once separated from the palette, the paint was laid out to dry again and gradually collected like fallen leaves over a long period of time.

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As such, the resulting works, composed of numerous fragments of plasticized material, embody a memory of all previous paintings: first, because these are the very paints left behind by those paintings; and second, because the landscapes depicted here were not based on observation but rather emerged intuitively, as a kind of distillation of prolonged study of all those painted sceneries.

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Part painting, part collage, these works expose a fragile delicacy in the peeling, torn surfaces. The landscape image seems to both form and unravel before the viewer’s eyes, challenging the stability of the ground and the tangibility of the sky. The blotchy composition generates an image that is simultaneously of everywhere and nowhere, revealing a sense of dislocation in relation to questions of belonging.

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While the process is labor-intensive, it involves very little premeditation and is, in fact, driven by chance—much like the experience of belonging itself. There is limited room for intentional action, as the material moves according to its own natural and unpredictable logic. Each phase of the process leaves its mark on the acrylic fragments, which tear, crumble, and warp through cycles of wetting, peeling, and drying. Moreover, the outcome is inherently arbitrary, emerging from the incidental mixing of paint on the palette: an object that was never intended as the artwork itself, but merely served as a tool in its making.