In the “Zenith” series, the artist seeks to create a unique visual language by exploring unconventional formats, such as circular canvases or rectangular ones with exaggerated proportions. Interestingly, such proportions are not without historical precedent. They echo the established conventions of traditional eastern art, where elongated scrolls, circular fan paintings, and other unique formats have long been associated with specific cultural and aesthetic traditions.

The artist, however, clarifies that his primary concern lies in the “slippage of the signifier” behind these forms — a concept that points to a kind of “perpetual instability of meaning.” This idea consists of the ceaseless flux and transformation of all things, as well as the exploration of the “finite without bounds” and the “bounded infinite.” Through a metaphorical comparison of human existence to celestial bodies adrift in the vast universe, the artist probes the existential condition. Furthermore, this inquiry extends to an examination of the significance of the social fragments in which individuals participate, all of which unfolds within the boundless and eternal space-time continuum.

On a more microscopic level, in the “Zenith” series, the artist captures a tangible perception of time and space, portraying humans not as passive experiencers of time but as active authors of it. Through our bodies — through the intricate interplay of sensory experiences — we weave ourselves deeply into the fabric of time. In this act of creation, we transcend the isolation and indifference of physical space-time, continuously writing and weaving our narratives into the ever-unfolding tapestry of existence. In this sense, we are both singular and eternal: singular in our unique, irreplaceable presence, and eternal in our ceaseless participation in the creation and renewal of life.