For The Lemon Project paintings, I worked on handmade rag paper whose beauty I wanted to preserve rather than cover. Each page holds a single small still life painted as if floating in space so the paper itself could remain central to the composition. These intimate studies became an exercise in rendering with minute realism through the indirect method known as the Mische Technique, the cornerstone of my studio practice. In this approach, light is first sculpted in whites over an imprimatura, then veiled with transparent and translucent glazes that act much like stained glass—allowing light to travel through color, refract, and return to the eye with a sense of volume and luminosity. The result is not just an image on paper, but a surface alive with depth, harmony, and light.