In the painting The Blue Beret, a figure is staged like a performer within a digitally constructed set. Blocks of colour, geometric interruptions and distorted proportions fracture the body into modular parts, evoking an identity assembled through external demands. As the work moves from digital planning into paint, control gives way to instability. Textures rupture surfaces, scale slips, and the body struggles to contain itself. The figure appears as an avatar in flux, bearing the pressure of self representation, never resolving into a fixed or coherent self.
I do not treat paint as a surface for depicting forms, but as a material capable of registering pressure, resistance, attraction, and collapse. Deformation in the work is neither transformation nor decomposition, but the visible trace of forces acting on the body of the image. Brushstrokes, thickness, and ruptures function as indicators of tension, as moments where sensation tightens or releases. In this sense, the painted figure does not smile by illustrating a smile, but by making visible the force that produces it. Color, texture, and distortion become vectors through which invisible pressures pass, allowing the painting to render time, weight, and intensity as lived sensations. The image emerges as a field of forces, where the visible is only the consequence of an encounter between material, gesture, and the unseen energies that traverse the body.