“Oneloners” alludes to “one-liners” and explores the connections between language and image. The addition of “loners” was chosen because the titles of the works are often fragments of text only comprehensible to the maker, and thus “lonely” in their conveyance of meaning. The series thrives on meditation and moments of rest, where images, emerging associatively from memory of a scent, taste or image, can evoke a scene that has (never) truly existed. A taste, in it’s intense color, becomes almost palpable in the image. Letters are reversed and turned inside out, like shapes on the work. A shadow stands alone as an object without an object to cast it. A subtle color gradient, in which spots and patterns spontaneously emerge, is reminiscent of trees or a lake. The series is unmistakably autobiographical and contains (visual) elements based on the maker’s daily life and memories. The visual elements are rarely directly adapted from the maker’s memory. Like all the elements in the series, they are turned inside out, exaggerated, and distorted. Just as in the thoughts and experiences that inspired the creation of the work, there are few limitations in terms of media. The maker combines, for example, acrylic paint with spraypaint on wooden panels. The etching process, approached from an essentialist perspective, employs a distinct graphic style, just like the pen and ink drawings.