A reference to François-Auguste-René Rodin, longing for the father, disfigurement (Le Penseur)

Figurative deformation in my practice operates as a structural condition rather than a formal strategy. I approach the figure not as a stable entity to be represented, but as a site of continuous collapse and reconstitution. In this sense, painting becomes a space where the authority of representation is not expanded but systematically dismantled. At the core of my work is a process I define as controlled disintegration: each gesture fragments the image while simultaneously reorganizing it into unstable configurations. Form is neither preserved nor erased—it is suspended in a state of perpetual negotiation. This condition produces what I consider a threshold image, where recognition and estrangement coexist without resolution. Drawing from photography, cinema, and figurative sculpture, I engage with pre-existing forms only to displace them. These references are extracted from their original contexts and subjected to ontological instability. The sculptural body—historically associated with permanence and ideal completion—is rearticulated on the canvas as something contingent, incomplete, and temporally unstable. The canvas functions as a site of friction, where visibility is constantly contested. What emerges is not an image in the conventional sense, but a destabilized perceptual field. Here, the figure does not represent reality; it exposes the conditions under which reality is constructed, perceived, and ultimately fractured.