Each work begins not from an original but from its circulation. A canonical painting is located across printed sources — books, magazines, catalogues — and divided into as many fragments as sources found. Each fragment is rendered from a different reproduction, at the quality that reproduction allows: precise where printing was sharp, degraded where it was not.

The fragments are scaled to reconstruct the work’s actual dimensions, producing a collision: images assumed to be monumental reveal themselves as intimate, or the reverse. Scale was never in the image, but in the object the image replaced.

Each fragment is built in layers — yellow, red, blue, black — translating offset printing into manual mark-making. The result reads as a whole from a distance and as a record of uneven transmission up close.

The series does not return to the original. It reconstructs the conditions through which art is known from the periphery — not through the work itself, but through what circulates in its place.