Combining printmaking with oil painting, its fusion with the overpainted readymade (an overpainted newspaper clipping of a Picasso auction) represents revitalizing the painting process; a constant juggling of different layers, speeds, materials, mediums, and effects.
 
Logos and typography appear on the surface of the canvas. These inscriptions are transformed into a linguistic proposition, which undermines the alleged essence of abstract painting. This process speaks of one of the artist’s significant preferences: introducing the painterly into the graphic, and vice versa, forcing the two modes together in a single image and then letting it go, allowing the material to alchemize independently.