This series of glass paintings explores the organic interaction between gouache and oil. The oil, laid over the gouache, slowly diffuses, spreads, shifts — it almost breathes. This fusion process is unpredictable, as if the paint itself were generating its own body, breath, and temporality. The painting does not merely represent: it acts. It paints itself, vibrates, and lives.
This pictorial vitality contrasts with the motif of skeletons and skulls, borrowed from the symbolism of vanitas. Whereas the skull in art history evokes death, here it becomes a pretext for the opposite: the painting penetrates it, animates it, and destabilizes it. It is no longer a “still life,” but a “living matter.” By putting the image of a funerary symbol in tension with a shifting pictorial process, this series questions what painting truly is: a finished object, or a presence in constant transformation?
