I start my painting through automatic drawing, applying paint with brushes and palette knives, to create a grisaille. At a certain point, some unbidden forms keep emerging from the primeval surface of paint; maybe it is my brain that projects forms to the surface from the unconscious, similar to the symptom of pareidolia. Though I like the accidental and unexpected forms and compositions I find through this process, I have been perplexed by the persistent encounter with certain motifs. Relying on the concept of Freudian Uncanny and others, my current paintings seem to partly reflect the repressed memories of my childhood, especially indoctrinated techno-utopian dream and its subsequent ignominious debacle. Perhaps induced by the current events that demonstrate we are repeating the same mistakes of our past, the repressed memories return and emerge in my paintings as a form of denatured nostalgia that manifests itself in uncertain, uncanny and even daemonic ways as it becomes confluent with the anxiety about the current and the apocalyptic and dystopian future. Consequently, my paintings seem to be a strange amalgam or a twilight zone where opposite, antithetical, and incongruent elements coexist, vacillate, or conflate between: the past and the future: Western European paintings and animations: high and low art: the philosophical ideas and the pop-cultural notions: the gestalt and the notational images: the familiar and the unfamiliar: the conscious and the unconscious: the despairing and the hopeful: the nostalgic and the uncanny.