These paintings draw from the ancient script of Eritrea and Ethiopia, a phonetic system in which each symbol carries both sound and rhythm. Influenced by contemporary artists who have reimagined Fidel within their own practices, I approach these forms not as fixed language, but as living marks. Through abstraction, I translate their sonic and symbolic qualities into a visual language—one that moves between memory, gesture, and interpretation. The compositions become spaces where meaning is felt as much as it is seen, grounded in tradition while reshaped through a personal, contemporary lens.