This process challenges the human visual perception of objects. We conceive physical entities with shape and color as objects, and naming an object renders the instrumental meaning of it.  This series displays the complexity of these definitions: if an object's visuality is ambiguous- it can be perceived as a "little more" than an object, near-object, or perhaps even as a meta-object.

Much has been said about photography medium as a genuine report of the singular existence of reality - ostensibly the most reliable tool at our disposal for confirmation of the physicality of things. This is, perhaps, the main reason why these paintings echo some of the raw characteristics of photographic visibility – a cold and precise report, somewhat inhuman in a way. By its essence, photography strips off the surface of space-time and throws it back into space-time. here the first part of the process does not occur at all: the referent is not stripped off its physical qualities, but from the memory of them.