A figure suspended between playfulness and tension is depicted, caught in the act of pointing a toy gun at something that remains off-screen. The pose, both childish and strategic, evokes a desire for control and subtle rivalry, while the title introduces the true key to understanding: the elsewhere that attracts us, what we do not possess but observe with curiosity, envy or projection.
The saturated, almost artificial lawn becomes a metaphor for this imagined space, a uniform surface over which the protagonist seems to want to establish symbolic dominion. Around her, parrots—exotic and out-of-scale presences—burst in as figures of disturbance and freedom, suggesting a surreal dimension that disrupts the everyday scene. These creatures embody thoughts that fly elsewhere, the desire to escape, or the fantasy that amplifies what we see in the “neighbour’s” grass.
The painting, direct and gestural, renounces mimesis in favour of presence: strong backgrounds, vibrant colours and slightly distorted anatomies construct a theatricality that makes the scene both lively and unsettling.
In this work, the artist explores the distance between what is real and what we project onto the world: a small mental theatre where desire, imagination and competition intertwine, reminding us that often what we crave is nothing more than an image cultivated in our minds.