In my most recent paintings, I am thinking about instability as both a perceptual and historical condition. I return to Cubism because, in responding to the fin de siècle, it offers a way to break the apparent containment of the object, opening it into something shifting and never fully graspable. The work presents itself as a constrained field in which space and objecthood are negotiated. The viewer is brought to the threshold as recognition falters, and the stability of the world begins to lose its footing. Today, this insight returns with new urgency: in a culture shaped by synthetic distraction, neither the object nor the world can ever be fully captured, even by the multiplicity assembled to contain them.