The Aftergaze explores the life of images beyond their first appearance: the way visual fragments persist, transform, and acquire new meanings through memory, perception, and the act of painting.

The works emerge from the convergence of heterogeneous image sources: personal photographs, film stills, fragments from art history, digital archives, and occasionally artificial intelligence–generated imagery. These elements do not function as quotations or references, but as unstable traces that dissolve within the material and conceptual structure of painting.

Built through a slow process of layering on raw linen using rabbit-skin glue, oil, earth pigments, and traditional painting materials, the works develop through accumulation and transformation. Painting becomes a space where different visual realities merge: the personal and the collective, the remembered and the imagined, the existing and the constructed.

By refusing to establish a hierarchy between these sources, The Aftergaze questions the boundaries between memory and fiction, experience and projection. The canvas becomes a place where images lose their original identity and emerge as something else — a residue of what remains after the act of seeing.