Over the past year, I revisited a number of old sketchbooks I found in my studio—pages filled with partial compositions, fragments of color, and ideas that emerged either from observation or memory. I decided to rework some of these elements, translating them into new paintings on different surfaces: paper, wood, and canvas. The colors I use now are drawn both from memory and imagination.

The objects in these works—figures, plants, vessels, glimpses of interiors or exteriors—originate in different times and contexts, past and present. In this series, they are lifted from their original surroundings and juxtaposed in new constellations. Some seem deliberately placed, others appear as if accidentally found or forgotten. Their meeting produces a quiet tension, a sense of familiar estrangement, and at times, an intimate distortion of the real.

The series is informed by Surrealist approaches to composition, where unrelated objects are placed together to provoke surprise or discovery. It also echoes the tradition of still life painting, a genre that in the 16th century isolated inanimate objects and arranged them as timeless icons. Here, however, the objects are not whole or stable—they often appear as fragments, impressions, or memories. They engage in a dialogue with the painted space and sometimes invade or disrupt their own representation.