What recur in Nikulas Lebajo’s works are figures in repetition and objects in multiplicity. His practice is a compositional one rather than gestural, and his is a process that involves being stirred by the aesthetic totality of things without the daze of the spectacular. He paints objects not only because of their laconic forms, or color for their mutedness, but also because it is in their being uncompounded that he can explore elements of painting. He situates objects in compositional permutations, both in singularity and in multitude, further exploring the range of aesthetic experiences that are probable when perspective differs.