The series of two paintings uses used jute coffee sacks as support. The jute is not a neutral background; rather, its structure, lettering, and signs of wear are inscribed into the effect of the painting.

An irregularly applied layer of paint as the lowest level of the works refers to processes of deposition, agglomeration, and reforming. This is followed by glazed areas of color that do not cover the underlying surface but integrate it into the composition. The layers of paint are not closed surfaces but transparent layers as states between concealment and disclosure.

The interplay of jute, structure, and glaze creates a tension between materiality and visual effect. The series explores the relationship between image and support, between painterly gesture and found structure. The visibility of the substrate refers to the unfinished, to the simultaneity of past and present. The works negotiate questions of origin, permeability, and transformation without narratively codifying them.