Chrome Memory

To dialogue with art history is not to visit a mausoleum.
It is to touch the very structure of the visible.

In this series, I do not cite; I extract. Monet’s vibration, Da Vinci’s sfumato, Gauguin’s framework—I retain only the quintessence to fuse it into my own vocabulary: that of absolute form.

Where Impressionism sought to capture the fleeting moment, my work seeks to capture the enduring one. I have not fossilized these scenes; I have transmuted them.

The choice of a monochromatic treatment is not aesthetic; it is ethical. It retains only the essential: light, shadow, and volume.

This is not a look backward.
It is the memory of the future.