Everyday is Monday remained in the studio for years, returning to the easel at different moments rather than being completed in a single period of work.

The painting accumulated decisions, interruptions, and revisions, becoming less a record of one day and more a witness to time itself.

Instead of resisting those interruptions, the work absorbed them, carrying traces of different chapters of the artist's life and practice.

Conversations around the work rarely stay with the image itself.

Viewers often connect it to unfinished projects, careers, relationships, or ambitions that remain present long after they were expected to end.

The title becomes a shared experience: the feeling of returning to something that quietly waited for the right moment.

Some paintings are finished.

Others simply stop waiting.

I worked on Everyday is Monday over several years, returning to it between exhibitions, moves, and other series. For a long time, I thought the interruptions were part of the problem.

Eventually, I realized they were the work itself.

The title came from that realization. Monday is rarely anyone's favorite day. It represents responsibility, unfinished conversations, and the return to things we cannot avoid.

This painting became my own Monday—always waiting in the studio, asking to be revisited until it finally found its own resolution.