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About ten years ago, my work focused on figures seen from behind, placed in front of sparse or nearly empty landscapes. These paintings explored a specific moment: the emergence of awareness—the point at which a person becomes conscious of their presence in the world. Over time, I realised that they still relied on a subject–object structure, as viewers often perceived the figure as an isolated individual facing the landscape. The work gradually shifted from representing a person experiencing the world to constructing conditions in which that experience can take place directly.

Overview of the 12 panels of the panorama 

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