Memory II begins with a refusal to start on the surface. Instead of laying paint directly onto the sheet, Gul pulls a first layer from another paper pressed, lifted, transferred. What arrives is a ground of slips and accidents, a skin woven from residue: ridges, skids, veils and ruptures.
Onto this field of chance, deliberate marks enter like afterthoughts that decide to stay lines that coax forms from turbulence, color that edits the spill without erasing it. The composition holds a conversation between what happens and what is chosen; between gesture that wanders and attention that returns.
Memory II is a study in equilibrium. It balances the intuitive and the constructed, the inner weather and external conditions. Process does not decorate meaning here it produces it. The image is both trace and intention an agreement signed by accident and will.