Through pigments that slowly darken painting unfolds as an event across years and centuries. Each work carries a latent black monochrome within itself, making time perceptible through colour.

Three superblack canvases merge into a single, almost invisible image. Referencing Klein, Malevich and Reinhardt, the work relocates the monochrome into the materiality of contemporary nanotechnology.

Light is copied over light until the paper turns black. As toner accumulates, the machine’s errors emerge, balancing intention and accident.

These paintings explore the monochrome as a process rather than a state. Shifting between white and black, they reveal colour as a condition of continuous transformation.

Every week, a strip of tape is randomly placed on a copper and lead sheet. After a year, the 52 tapes are removed. As the traces fade, the material diary gradually becomes memory.

A continuous transformation between two colours. As one becomes the other, a third colour emerges, revealing the monochrome not as a colour but as a state in time.

Juxtaposing uranium ore and lead, two stages of the same material separated by millions of years, the work evokes deep time. As yellow and grey darken, a latent black monochrome reveals the invisible.

At first glance, these tessellated reliefs appear as perfect monochromes, revealing their structure only upon closer inspection. They oscillate between visibility and invisibility, order and randomness.

Thirty-six black moving squares emerge from a superblack surface, becoming visible only upon close observation. Oscillating between visibility and invisibility, the work challenges the limits of perception.

A blank page is copied, then each copy becomes the source for the next, until the page is black. Each set is unique, revealing the machine through its traces. Set after set, an archive of entropy emerges.

The radioluminescent monochrome emits energy into space, its decay made tangible by the clicking Geiger counter. Turning black over 1,600 years, it evokes a timescale beyond perception.

The work overlays Rauschenberg’s Erased de Kooning quote onto On Kawara’s 1968 S.M.S. edition. As the print fades, a material palimpsest gradually renders the date painting into a blank page again.