Between 2015 and 2018, I returned to painting through techniques I already knew: distemper, pigments, mortar-based surfaces.

Some works from this period open a new space. They still carry earlier gestures, yet they already shift the surface toward a cosmic dimension: diffuse depth, vibrating matter, suspended light.

These 2018 distemper and mortar paintings form an interstice. They foreshadow the slow temporality, quiet density, and inner spatiality that would later become central in my lacquer work.

In 2019, a first lacquer panel marks the turning point: a different depth, a different movement of light, a different language.

This interstice is a passage — a transition from one world to another.