25 / 25  cm

Acrylic, fluorescent acrylic, luminescent acrylic 

In this work, the artist transforms the image of Valera the pigeon into a semi-human figure, where the bird’s body is combined with human hands gripping a sword. This gesture is not about aggression per se — rather, it is about a tense readiness for defense, a state of internal struggle without a clearly defined enemy.

The background is constructed as a fluorescent, almost toxic, shifting environment: a blurred, pulsating field of color that creates a sense of disorientation. The space does not hold still — instead, it destabilizes itself, as if reality were constantly slipping out of alignment.

Around Valera’s figure, multiple eyes are scattered. They do not form a unified system of surveillance, but exist as a fragmented, intrusive presence. These are not “others” in a concrete sense, but rather the sensation of being observed — excessive, uncontrollable, and split. This multiplicity generates a paranoid tension in which the world is perceived as both attentive and threatening at once.

The work addresses themes of maturation and the loss of control over what has been released into independence. Valera is no longer just a street pigeon, but a being existing in an environment that cannot be stabilized through a single, fixed reading.

“Valera is Paranoid” functions as a visual metaphor for an overloaded state of consciousness, where protection and anxiety merge into a single response, and reality dissolves into an excess of signals.

The painting is presented in a heavily textured frame, hand-finished with decorative plaster. An integrated ultraviolet light system is built directly into the frame, activating three different types of paint layered throughout the work. Depending on the lighting conditions — daylight, ultraviolet light, or darkness — the painting reveals three separate visual states, transforming the image into a shifting, multi-layered environment rather than a fixed surface.

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