Beyond Propaganda

Power of Selection in an Age of Image Saturation I've always had the ability—and perhaps the necessity—to choose my subjects from the overwhelming flood of images that define contemporary reality. The modern world bombards us with visuals from countless sources: newspapers, magazines, almanacs, television, the web, and even video games. This relentless stream of imagery shapes our perception, influences our emotions, and feeds our imagination. Yet, rather than passively absorbing this visual overload, I have developed a process of selection, extracting certain images that resonate with me on a deeper level. Despite the infinite variety of available images, I am drawn to a select few—those that spark my curiosity, challenge my perception, or demand further exploration. My choices are not random; they stem from a subconscious dialogue with the world, a visual intuition that guides me toward certain themes, patterns, or narratives. Some of these images evoke nostalgia, others reflect societal contradictions, and some exist in a space between fiction and reality, blurring the boundaries of representation. Once I have identified an image that intrigues me, my artistic process begins. I do not merely replicate it; I reinterpret, deconstruct, and reassemble it through the lens of my own experience and artistic language. My paintings become a means of investigating these chosen images—questioning their origin, significance, and emotional impact. The act of painting allows me to slow down the rapid consumption of media, transforming fleeting visuals into lasting, tangible reflections. In this way, my work stands as both a reaction to and a meditation on the contemporary visual landscape. By selecting and reimagining these images, I seek to create paintings that do more than capture a moment—they invite the viewer to engage, reflect, and reconsider the very nature of the images that surround us every day.

Diversion at the Heart of My Artistic Process

Diversion lies at the very core of my artistic practice. In a world saturated with images carrying predefined meanings, I choose to extract, isolate, and manipulate these visual fragments to subject them to a new reading. By downloading images—whether iconic or mundane—I strip them of their original context, removing their primary meaning. This is not mere reinterpretation; it is a reconfiguration that disrupts conventional references and challenges how we perceive, consume, and decode images in our contemporary society. Using digital tools and image-processing software, I deconstruct these visuals, hybridizing, altering, or recontextualizing them. This process is not solely an aesthetic transformation; it aims to disrupt visual reading habits and create a rupture in our relationship with images. By inserting these diverted elements into a new pictorial narrative, I generate spaces for reflection, inviting viewers to question their perceptions and reconstruct meaning from the ambiguity and visual tension embedded in my work. Far from simple appropriation, my practice operates within a framework of subtle subversion: to divert is also to reveal. It is a means of uncovering latent meanings, exposing the mechanisms behind image production, and highlighting the malleability of representation in the digital age. Thus, each work becomes an experimental ground where collective memory, personal imagination, and the media flow intersect, collide, and transform.

Once I have identified an image that intrigues me, my artistic process begins. I do not merely replicate it; I reinterpret,