I start my painting with 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 some forms to the surface from the unconscious, similar to the symptom of pareidolia. Relying on the concept of Freudian Uncanny and others, my current paintings seem to reflect the repressed memories of my childhood, especially indoctrinated techno-utopian dream and its subsequent ignominious debacle, as a form of denatured nostalgia that manifests itself in uncertain and uncanny ways. Being induced by the past and current events that demonstrate we probably are doomed to make the Eternal return, repeating the same mistakes perpetually, it seems a convincing theory that we have been being imprisoned in "a huge prison" (the world of Boschian Hypotheses, according to Leo Joseph Koerner), a simulation or an illusion. My paintings accordingly embody and suggest these ideas through certain themes and modalities such as the themes of circus and the establishment of an implicit viewer’s space. As the denatured nostalgia becomes confluent with the anxiety about the current and the future, my paintings are to be a twilight zone where ambivalent, incongruent, even antithetical elements coexist, vacillate, or conflate between: the past and the future: Western European paintings and animations seen during my childhood: 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.