This work consists of three canvases, each bearing one of the three primary colors. In this sense, it pays tribute to the very foundation of art, the starting point from which everything can be created.

But this triptych goes far beyond painting or color. It fits into a universal symbolism where the number three embodies balance, harmony, and structure. Like the three legs of a stool, these three canvases support and respond to one another. Each color becomes the reflection of a fundamental pillar. In philosophy: body, soul, and spirit. In religion: the Christian Trinity, the Buddhist Three Jewels, the Egyptian triad, the three Norns weaving past, present, and future in Norse mythology. Or even in life: birth, life, and death, or morning, noon, and night. This number runs through cultures, stories, and forms of expression.

But this work does not seek to please. It does not claim to be beautiful or faithful to any kind of reality. On the contrary, the stencil overflows, the letters are off-center, the monochrome is disrupted. It unsettles, even frustrates, those who expect perfection or harmony.

And that is precisely its intention.

This work asserts that art does not need to be perfect to exist. It detaches itself from appearance to shed light on what it means: an idea, a symbol, a tension between what we see, what we understand, and what we feel.

It is a tribute to art in its accepted imperfection. Because sometimes, it is in imbalance, doubt, or flaw that art reveals its deepest truth.