Ronan Day-Lewis paints like a filmmaker, constructing each image as if it’s a single frame loaded with narrative possibility, and the exhibition as a whole with the logic of montage. His compositions operate like jump cuts, inviting the viewer to assemble their own associations from painterly fragments. His technique deepens this cinematic pull. Working in oil pastel on raw canvas, Day-Lewis scumbles pigment into a granular, almost staticky surface that recalls the degraded textures of VHS tapes, a blue-hazy scuzz where edges bleed and colors ghost across the picture plane.