I lived on Kish Island for nearly three years. After working night shifts, I would sit on a bench by the sea at sunrise and draw. I watched people swimming, walking, or resting by the water. Years later, I still return to those ordinary moments: two people walking together, a body half lost in the light.

In Mer-Moire, I wanted to see how those memories might take shape in paint. I build each painting from small dots of acrylic color. Up close, the marks stay separate; from farther away, a figure or a shoreline comes into view. That shift feels close to how I remember Kish. A gesture or a patch of light can stay clear long after I’ve forgotten what happened before or after it.

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