It began as a way to disturb the certainty of the print. The underlying image remains constant, but the surface is interrupted by a final, physical gesture.
After framing, the work is painted directly onto the acrylic glass. The black forms are applied by hand, creating a matte layer that contrasts with the surrounding gloss of the untouched surface. The drawing beneath stays intact, yet its perception shifts. Depth changes.
The painting does not sit inside the image but hovers in front of it. Light moves differently across the surface, activating the work as the viewer shifts position.
Each piece is produced individually in the studio. While the print remains the same, the painted intervention varies. No two works are identical.
The result exists somewhere between print and original.
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