Sheds extends the material and conceptual process developed in Skin. Each work is composed exclusively of fragments taken from 1:1 printed reproductions of two earlier paintings, Red Moon and Just Flip a Coin. Their imagery is torn apart, displaced, and stapled onto linen, transforming existing works into new visual narratives. (Sheds 2/2)

Presented in double-glass frames, the works remain visible from both sides. The front usually reveals a mysterious figure or fragmented sequence, while the reverse exposes the construction itself: folds, tensions, and office staples holding the image together. With its exposed fastenings and restrained textile structure, the backside can evoke the aesthetics of a straitjacket - suggesting fixation, restriction, and containment.

A tactile ambivalence runs throughout the works: cold, smooth paper meets warm, soft textile and hard, sharp metal. Rather than reproducing the past, Sheds dismantles and recycles it. Destruction becomes a constructive act, reflecting processes of psychological healing and self-reinvention. What has been torn apart is not restored to its former state, but reorganized - with its wounds and traces remaining visible - as the material for something new.