The Waiting Continues draws from images extracted from digital archives to construct an ambiguous landscape that explores visual memory through the aesthetics of the glitch. Taking the act of scrolling—the continuous movement through digital and social media content—as its point of departure, the painting brings together images from different origins that coexist simultaneously, evoking the unconscious and dreams as spaces of tension and conflict.

The use of oil paint emphasizes the materiality of the process. Rather than being transferred transparently, the imagery is subjected to dragging, layering, and displacement, altering its legibility. Through horizontal gestures of paint, the surface undergoes a controlled distortion that brings the pictorial plane closer to the logic of the glitch. Unlike digital error, however, the interruption here is physical: paint displaces the image, generating duplications, misalignments, and areas of loss.

The repeated, partially blurred military figures lose their individuality and become patterns. Their condition as archival images is gradually eroded by the painterly process, transforming them into unstable visual signals. In contrast, the flowers occupying the lower section introduce an iconography associated with the decorative and the domestic, yet they too appear intervened, scratched, and fragmented. Propaganda and nature thus share the same condition: both are reproduced, mediated, and ultimately altered.

The composition is organized through a clear structural division, while the surface remains active and unresolved. Small blocks of color and graphic signs interrupt the reading of the image, introducing references to digital culture and reinforcing the idea of an image in constant transformation. Rather than presenting a linear narrative, the painting creates a field where images shift, interfere with one another, and continually reconfigure themselves, revealing both their constructed nature and their material instability.