Unsatisfaction II
These two works show how the same prompt can unfold into distinct visions of beauty in excess, shaped in part by the atmosphere of Baudelaire’s Les Fleurs du mal, where refinement, abundance, and decay are held in uneasy proximity. In this piece, the scene is quieter and more elusive, with one figure reclining and another turned toward a distant light whose meaning remains unresolved. Flowers, velvet, and richly composed interiors create an atmosphere of cultivated abundance, while also hinting at the instability that often lies beneath a world devoted to perfection.
Boy Playing in Blankets
A child wanders through a landscape of blankets, like golden dunes, every fold holds the promise of a new world. The air hums with quiet wonder, dusted in stars that might be paint or might be dreams. A lamp becomes a distant sun, glowing softly over this small, infinite universe. Time is stopped here, only the gentle now of play where imagination stretches reality into something vast and luminous. It is the kind of joy that asks nothing, the kind of peace that needs no reason. A reminder that the world was once this soft, this bright, and perhaps still can be.
Russian Market
This work imagines taste as something that begins long before eating. The saturated fields of color, inspired in part by Rothko, turn the market into an atmosphere of anticipation, abundance, and sensory intensity, where fruits, textiles, and figures seem to dissolve into one another. In that merging, the painting captures the excitement of moving through a market and absorbing flavor first through color, nearness, and curiosity.
Couple Reading I
[Description coming soon]
Sailboat
[Description coming soon]
Twilight Contact
In this twilight scene, sound is treated not as something merely heard, but as something physical: a force that moves through air, matter, and the body itself. Drawing on Michel Serres’ idea of sensation as material and immersive, the streaming ribbons render the wind visible while the brass basin below suggests vibration, resonance, and the quiet transmission of energy through the garden. The reclining figure, suspended between stillness and reception, becomes a kind of tuning surface, while the scattered vessel, bell, and dark fruit evoke offering, interruption, and the small charged remnants left behind when the invisible world makes contact.
Unsatisfaction I
These two works show how the same prompt can unfold into distinct visions of beauty in excess, shaped in part by the atmosphere of Baudelaire’s Les Fleurs du mal, where refinement, abundance, and decay are held in uneasy proximity. In this piece, the woman’s direct gaze creates an immediate confrontation with the viewer, giving the image a poised and unsettling self-awareness. Flowers, velvet, and richly composed interiors create an atmosphere of cultivated abundance, while also hinting at the instability that often lies beneath a world devoted to perfection.
Quiet Space I
This piece captures a deeply peaceful inner world, where stillness becomes almost tangible. The soft gradients of color, reminiscent of Rothko, create an atmosphere that feels both expansive and intimate at once. At the center, a solitary figure sits on a tiny piece of wood, quietly absorbed in reading, at ease within the vast calm that surrounds him. There’s something profoundly moving about that contrast—the smallness of his perch held gently within the openness of the water. It invites a quiet recognition, perhaps even a subtle longing, for that kind of presence—for the rare and beautiful state of being fully immersed in a moment, untouched by noise or distraction.
Boys Playing in Sand
[Description coming soon]
Silver Pleasure
This work centers on the moment before flavor becomes known, when curiosity itself begins to shape the experience of taste. The woman’s poised gesture and attentive stillness turn the pearl and champagne into objects of contemplation, transforming a small act into a private ritual of testing, play, and refinement. Rather than presenting taste as immediate or obvious, the painting lingers in uncertainty, where expectation sharpens perception and the unknown becomes part of the pleasure.
Laughing Couple
[Description coming soon]
Boys Playing II
[Description coming soon]
The Road Behind
This work considers how reality is built not only through what lies before us, but through what the senses gather in passing: wind, light, speed, heat, and the shifting view behind. The girl’s backward glance does not break the moment, but expands it, transforming a simple drive into an awareness of time as something felt through the body rather than measured from a distance. In this way, the painting suggests that presence is never static. It is continuously shaped by motion, memory, and the sensory richness through which the world becomes real.
Under the Clouds
[Description coming soon]
Boys Playing III
[Description coming soon]
See Yourself in Art I
These two works offer a clear example of how the same prompt can produce two very different images while remaining faithful to the same underlying concept. In this piece, the mood becomes especially playful. The reflected figures do not appear to have fully succeeded in mirroring the visitors, and that slight failure gives the image its charm. One of the copied men seems almost to glance at the other in mild disappointment, as if noticing that the reflection has gone slightly wrong, that a hat is missing, that the illusion is close but not complete. That subtle break in logic deepens the work’s central idea: seeing oneself in art is never exact. It is always filtered, altered, and a little strange, and that gap between recognition and imperfection is part of what makes the encounter pleasurable.
Flower Memory
This work is rooted in a personal scent memory, shaped by the association of lilacs and lily of the valley with childhood joy, celebration, and tenderness. Rather than describing a bouquet directly, it gives visual form to the way floral scent is often remembered: blurred, luminous, and slightly unreal, as if fragrance had expanded into color, softness, and feeling. The image treats memory not as a fixed picture, but as an atmosphere that lingers just beyond focus.
Lunch in Paris
[Description coming soon]
Couple Reading II
[Description coming soon]
Boy in Blankets II
A small kingdom rises in the hush of evening—stitched from chairs, softened by sheets, glowing faintly in lamplight. Outside, the world deepens into blue, but inside, imagination hums with gold hues, turning fabric into fortress, shadows into story. There is a kind of freedom that lives in moments like this. And though no one names it, there is a gentle truth held in the room: that joy comes easily in such places, in the simplest of creations, where a child could build a universe and belong entirely to it. Just outside the frame, the quiet presence of someone who sees it and knows, not with sadness, but with a soft gratitude, that such moments exist at all, whole and unguarded, almost precious.
The Orchard
This work considers scent as more than a passing detail. The flowering orchard becomes a visual expression of what happens when the smell of blossom expands into a full sensory and emotional experience, briefly shifting one’s sense of place, time, and presence. The dispersed figures and dense atmosphere reinforce that feeling of collective absorption, as though the landscape itself has been transformed by what is carried in the air.
Small Sailboat
[Description coming soon]
Children in the Park
[Description coming soon]
Couple Reading III
[Description coming soon]
Quiet Space II
[Description coming soon]
Couple Reading IV
[Description coming soon]
See Yourself in Art II
Both works begin with the idea of museum visitors encountering themselves within art, yet one develops that premise into a quieter, more contemporary meditation on self-recognition, while the other leans into Magritte-like play, structure, and visual wit. That difference is precisely why both were worth keeping: together, they show how a single conceptual framework can open into distinct emotional and interpretive worlds.
Observer
This work explores the strange distance that can exist inside beauty. The garden is vivid, lush, and almost impossibly perfect, while many of the figures remain pale and detached, as if they have not fully entered the world around them. By placing the central observer in color and surrounding her with bodies that feel more ghostlike, the image suggests that seeing can be both a pleasure and a form of separation.