Series Overview:

The title II.I.II preserves the memory of Alamdar’s Houston apartment, where he first carved out a dining area as a studio. It was a modest beginning, but one that set his trajectory. By anchoring the series in that number, he honors the home where the practice truly began, treating II.I.II as a library that will remain permanently open.

From this foundation, II.I.II marks a transit point in Alamdar’s practice. The series functions like a bus stop, a place where portraits, objects, and fragments converge before departing toward new directions. More than any earlier body of work, it is deliberately raw and unfiltered, operating as both diary and experiment. The artist documents the ordinary details of daily life, naps, traffic, tea, coffee, the pull of a phone, even the presence of a kiwi plush toy, but the paintings are less about routine than about process.

Each work tests the limits of his visual language. Portraiture is bent and interrupted, symbols are introduced and reconfigured, humor sits alongside philosophical weight. The titles are self-aware and sometimes playful, yet always purposeful in how they frame each canvas as a psychological profile of a moment. What emerges is not simply a record of lived experience but an intentional crucible in which the artist dismantles habits, absorbs new knowledge, and refines the foundations for future work.

As a whole, II.I.II is both diary and laboratory. It makes visible the tension between immediacy and philosophy, between experiment and discipline. Its purpose is not resolution but transit, a recognition that only by passing through this unstable stage can the practice acquire the depth and clarity required for transformation.