Created at the start of my time in Morocco, the series was triggered by a sudden release of tension that broke a long creative block. It consists of 12 paintings—12 portraits of completely different figures: family and friends, random strangers and faces from films and non-existent characters created from archival early 20th-century photographs.
Each time, the subject’s face serves to reveal something more than just a physical resemblance. These are portraits of emotions, fleeting states of mind, and character traits captured on canvas in a moment of inspiration.
Every element of human nature holds a visual dimension for me. Just as sounds form shapes in my imagination, letters carry colors, and scents evoke specific textures, the human soul—understood as the essence of existence—has its own colors. This synesthetic intertwining of sensory stimuli guides me through the entire process.
I usually begin my work by taking photographs, looking for natural, unposed shots captured when the subject does not feel observed. The choice is driven by a sudden flash of inspiration—a moment when I look at someone and already see the finished painting. Guided by intuition and a sense of form, I then select the color palette and background decorations. My goal is to capture the subject’s energy and aura as faithfully as possible through the filter of my own vision.
The method I use relies on contrast, where minimalism in color selection meets maximalism in decoration. I set the realism of the figure against flat ornamentation, strong highlights, and deep shadows. The square format unites the entire series, allowing it to be displayed as a cohesive mosaic.