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These three paintings revolve around a simple, almost brutal truth: today, everything kills. Everything harms. Everything comes with a warning label, even the things we once trusted.
At the center of each piece is a cigarette pack, but with a crucial twist: the phrase appears as “Smockin Kills”, a deliberate misspelling that isn’t a mistake but a mockery. It reads like the system laughing at us — a warning that doesn’t even bother to be correct. It’s as if the message itself were saying: I’m telling you I’ll kill you, but I won’t even spell it right. A satire of automated, empty, worn-out safety warnings.
Each painting repeats this distorted message in a different color: YELLOW, GOLD, and RED. Three versions of the same object, three ways of showing that danger has become universal, indifferent, and almost humorously cruel. The bright palette — electric yellow, warm gold, iconic red — is intentionally deceptive: colors meant to attract, sell, and reassure while hiding the violence beneath modern life.
In this series, “Smockin Kills” becomes a metaphor for everything around us: food, screens, habits, stress, overconsumption, information overload — even the air we breathe. Everything is harmful, and yet we keep consuming it, as if warnings had lost all meaning.
The dirty textures, repeated X’s, scraped edges, and rough brushstrokes create the sensation of a contaminated world, saturated with mixed messages. The compositions look almost like visual evidence from a collective crime — one in which we are all both victims and accomplices.
Together, these three works form a triptych about contemporary paranoia, but also about absurdity:
we live surrounded by warnings that no longer warn, in a world that kills us while laughing in our face.
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