Oriental Warmth

For me, miniature painting is a space I can re-enter and reshape by changing the relationships between its elements. Familiar figures and motifs move away from earlier narratives and acquire different meanings in new compositions. Through this rearrangement, men move towards the margins, while the presence of women on battlefields, in interiors, and beside mirrors transforms the order of the scene. The past remains within the image, but what unfolds there draws closer to the questions of the present.

This transformation also takes place within the forms themselves. The female figure intertwines with patterns, objects, and other bodies; part of it dissolves, then re-emerges elsewhere through a new shape. The spectral atmosphere of these paintings grows out of this shifting presence. No boundary is entirely closed, and no figure is confined to the limits of its own body.

For me, the presence of women in this series is bound to the possibility of changing their place within the image: how they are seen, the space they occupy, and the relationships they form with their surroundings. This presence cannot be held within a single pose or a fixed narrative. Sustained looking reveals further forms and connections, and a scene that seemed familiar changes once again. "Oriental Warmth" takes shape in this movement between the memory of an image and the possibility of transforming it.