

This work reads like an urban reliquary, where the warm grain of wood becomes a timeworn skin holding layers of posters, shopfront signage, and devotional fragments in uneasy harmony. A monumental seated figure anchors the composition, its softly burnished silhouette turning the surrounding clutter into a halo of memory—Chaplin, bazaar typography, and street ephemera functioning as icons of a shared popular past. Light seems to seep through the collage as if from within, converting commerce into ceremony and suggesting that nostalgia is not simply recollection but an architecture that shelters identity. The title’s promise—“Old Is Gold”—lands with a gentle irony, implying that what we treasure is often the patina of survival: a city’s discarded images reassembled into a private altar.







