Alongside the video works, the exhibition includes a cycle of eighteen paintings of various formats, executed in acrylic and combined techniques on canvas. These paintings are not conceived as illustrations of the video performance or video installation, but as a parallel component of the same conceptual process, developed through the logic of the painting medium itself.

The paintings are intentionally left untitled to avoid directing interpretation and to allow space for an individual relationship between the viewer and the work. Without titles, the paintings remain open to multiple readings and associations. Throughout the development of the cycle, painting functioned as a field of investigation in which the same question was examined through different formal, gestural, and emotional registers. 

The cycle was developed gradually. In its initial phase, clear structures, geometric relations, and controlled organization of the pictorial field dominate. As the process unfolds, these elements are progressively destabilized, giving way to organic forms, hints of figuration, and symbolic elements that introduce more complex and less predictable relationships within the composition. In later works, the painting process becomes freer, with gesture and the material presence of paint assuming a more prominent role. 

In this way, the painting cycle functions as a visual record of a reflective process in which relationships between control and intuition, construction and spontaneity, are continuously reexamined.