The paintings of this collection appear calm at first glance but upon closer inspection, the calm becomes tainted, unnerving. Each scene takes place in an imagined landscape, whether a speculation on the Earth's future, or a reference to Jung's collective unconscious, the details of each piece allude to desolation encountered, as if, within a dream. The conceptual model of dreams is constructed largely of typical simulacra (or their fragmentation), examples of which date back to the ancient classical culture––centaurs, satyrs and other anthropomorphic or zoomorphic mythological creatures.² These works find inspiration in both myth and mundanity (park trees, an old film, an ancient statue, a passage from a book), with an underlying nod to metaphysics, and the contemporary ecological crisis. The collection highlights this process of psychovisual metamorphosis: from that which is seen, to the mind; from the mind, to the image; from the image, the eyes and minds of others. 'Reality' is distorted by the prism of one's senses, perception and the mind itself. What remains in the end and comes out on the canvas relays a version of this reality which no longer exists and, in fact, never did.