These works approach painting as an event surface—an accumulation of staining, abrasion, and material interference. Acrylic, oil, stain, and aggregate materials are layered, disrupted, and partially erased, allowing the panel to record impact rather than depict imagery. Visual references to oxidation, weathering, and decay emerge without literal representation. The paintings function as remnants or aftermaths, where surface damage becomes compositional structure. Material processes are not concealed but emphasized, positioning degradation as a generative force.