The Sky Was Without Color (2025) coalesces ideas that have preoccupied me for over a decade—how volcanic activity embodies both destruction and the creation of new earth. From the start, my interest lay in how abstraction allows a vacillation between the fixed and the unsettled, dismantled, and reimagined, raising the question of whether a painting is ever truly fixed or remains changeable.

These concerns have become more urgent now. The works reflect the turbulence of our time—ideological conflict, dissolving systems, and the unknown shapes of what comes next. Through abstraction and reference, painting becomes a mirror and a telescope: a space to register fear and strategize survival while also opening towards the possibility of reconfiguration.