50 / 60 cm

Acrylic, fluorescent acrylic, luminescent acrylic 

This work functions not as a depiction of experience, but as its residual trace — unstable, fractured across different regimes of perception. The three pigeon heads are not read as narrative or anatomy: they behave as fragments of a perceptual glitch, like the memory of an image that has already become imprecise yet continues to “switch on” within consciousness.

In daylight, a red layer becomes visible, which does not so much introduce “blood” as it activates a bodily alarm signal — a marker that the image carries an internal traumatic temperature. Under fluorescent and ultraviolet conditions, the same scene dissolves into neon flows, and any violent or corporeal connotation disappears, leaving a synthetic optic resembling the afterimage of a hallucination. What matters here is not what is depicted, but what cannot sustain a stable mode of seeing.

The images exist as switches of altered states of consciousness: they are not fixed to a single meaning and do not allow themselves to be fully “read.” They behave as residual structures after altered perception — as if the experience has already occurred, but its form has not yet settled and continues to oscillate depending on light, space, and the viewer’s bodily position.

The ash wood frame and integrated functional elements shift the work into the field of the object-event: it is not only displayed but potentially used, further dissolving the boundary between contemplation and inhabiting a situation. In this sense, the work behaves as an environment that responds to human presence rather than as a stable carrier of meaning.

The painting is presented in a heavily textured frame, hand-finished with decorative plaster. An integrated ultraviolet light system is built directly into the frame, activating three different types of paint layered throughout the work. Depending on the lighting conditions — daylight, ultraviolet light, or darkness — the painting reveals three separate visual states, transforming the image into a shifting, multi-layered environment rather than a fixed surface.

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