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

The painting absorbed interruptions, revisions, and changing perspectives, becoming a record of time as much as image.

Rather than forcing an ending, the work waited until its own resolution became clear.

Conversations around the work often turn toward unfinished projects, delayed decisions, and the unexpected value of returning to something left behind.

Many viewers see the painting less as a single moment and more as a reflection on persistence and the quiet accumulation of time.

I was interested in the point where confidence becomes performance. The figure appears completely in command of herself, yet nearly everything around that confidence feels constructed—the pose, the glamour, even the suggestion of force.

I did not want to decide whether that performance makes her stronger or reveals something more vulnerable. What interested me was the possibility that both could be true at the same time. Sometimes what protects us and what exposes us can look remarkably similar.