The four works in the series examine the image as a temporal event, as an investigation of phenomena in a state of not-yet. They are conceived less as finished images than as fields of tense anticipation in which meaning is not fixed but anticipated. Color appears as an impact, as the condensation of a moment that cannot be fixed. The works invite us not so much to read them as to linger in a state of tense provisionality, in which meaning remains in the process of emerging.

The coffee sacks used as painting surfaces bear traces of use, circulation, and expectation, and refer to a temporality that is not narrative, but material and vectorial, directed by traces, folds, and imprints that refer equally to past and future actions and states.