Untitled Interference Obstruction on Cream Painting

In my artistic practice, I embark on a personal neuroscientific experiment to examine the impact of short-term memory loss through decay and Interference Theory in my paintings. Through thorough study of my subjects, encompassing both botanical and figurative elements, I challenge myself to recreate them without relying on visual references. By deconstructing the morphology and physiology of the subject, I reconstruct it solely based on my recollection. The outcome is a translated representation of the subject, influenced by the deterioration of memory and the transfer effects of newly acquired knowledge. In this process, I become both the artist and the subject, blurring the boundaries between observer and observed. Through the filter of my own memory, the recreated subjects take on a new life, shaped by the interplay of fading recollections and the integration of new information. By embracing this artistic reconstruction influenced by memory decay and interference, I invite viewers to contemplate the fragile nature of human recollection. The resulting artworks serve as a testament to the intricate relationship between memory, perception, and creative interpretation, shedding light on the dynamic processes that shape our understanding of the world.