Vagrant in Time

Within the image, I imagine forms entering into a similar relationship. Figures appear through one another, cross each other’s boundaries, and give rise to new shapes where they intersect. Each form contributes to the composition as a whole, yet its presence is inseparable from the forms around it. The spectral atmosphere of the paintings emerges from this condition: something can be visible while allowing another presence to pass through it.

The horses wander within this space. Their bodies extend through the layers, partially disappear, and become recognisable again elsewhere. For me, this wandering is bound to fear and disorientation—a condition in which finding a stable position or a clear direction becomes difficult. The horses’ movement within the paintings recalls sounds continuing through time and space between the moment they arise and the moment they are heard.

In constructing these compositions, I attend closely to every element. The attention to detail and relationships between figures in Baroque painting matters to me, as does a composer’s precision in choosing and bringing together notes. The image’s movement and turbulence emerge from relationships built element by element. Each form, like a sound, can remain discernible while participating in a larger experience.

"Vagrant in Time" is an attempt to bring seeing closer to listening. The eye can follow a figure, arrive at another form, and return to the first image. Through this movement, relationships shift and previously unnoticed shapes emerge—as though the image, like sound, were perceived over time.