Gratitude

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The circular canvas works almost like a loop you can't step out of: no corners, no clear beginning, so the figure and the pigeons end up blending into each other in a way that feel s instinctive rather than precise. I was thinking about domestication not as a clean historical fact but as a messy, emotional exchange: projection, service, care, and then the moments where that care slips or turns into neglect. The red berries started out looking like little digital indicators or switched on LED's . I tried to position them in a systematic, circular, something like a spiral model way. In the end, 'Gratitude' relies on softness, odd blends of bodies, and a sense of emotional fuzziness that digital logic has no language for, while briefly speaking on digital progress and abandonment of old ways. It leaves things unresolved on purpose, the way real relationships often are. Show more