Sounds Like Sunday (from the series A Place to Be) begins with an image from Little People Christmas Fun, associated with the children's pop culture of the 1980s. Rather than relying on nostalgia, the painting re-materializes an image originally conceived for rapid circulation and immediate consumption. The original scene embodies an idealized vision of family and community: orderly bodies, clearly defined emotions, and a conflict-free narrative. Yet this apparent order is not neutral—it shapes early imaginaries and models forms of belonging.

By introducing material blur and glitch, the work questions the stability and authority of the image itself. The process is deliberately slow and cumulative. Successive layers of oil paint build a dense surface from which the figurative image gradually emerges through a visible, weighty material presence. Across this foundation, a horizontal intervention—created through the physical dragging of pigment—introduces the glitch as a material gesture rather than a digital effect. This action does not imitate technological error; instead, it inscribes a tangible rupture onto the painted surface.

The resulting streak creates a tension between abstraction and representation, interrupting the scene without dissolving it entirely and leaving the image suspended between appearance and disappearance. The painting thus brings two temporalities into dialogue: the speed of mass-produced pop imagery and the slow, labor-intensive tradition of oil painting. Within this contrast emerges a reflection on technological fragility, mediated memory, and the ways images acquire meaning through both their circulation and their material transformation.