Two paper bags, painted at near life scale, stand quietly side by side. Their material is plain, their form everyday, their presence oddly monumental.

Removed from use, lit without drama, and given no further context, they become still bodies—carriers of nothing, yet heavy with implication.

Referencing the tradition of hyperrealist still life (Claudio Bravo (*1), among others), the work forgoes illusionism in favour of reduction and attention.

Painting as Index becomes, here, a gesture of reversal: the everyday object is no longer subordinate to function, but held still, as if aware of its own transience.

Neither nostalgic nor moralising, the painting proposes presence without meaning. And that, perhaps, is its deepest claim.