The sticker arrangement enters into a dialogue with the tradition of Western still life painting, but replaces the spatial illusion with a conscious flatness. The fruit motif refers to 17th-century natura morta paintings, in which everyday objects expressed abundance, transience and the passage of time. Here, however, the fruits are not imitations of nature but pictorial symbols based on silhouette and local color. The white borders transform the shapes into stickers and bring to mind Henri Matisse’s paper cuts and the overlapping image planes of cubist collage. The bright coloring, in turn, refers to Fauvism and the commercial imagery of pop art. Like digital icons, the fruits are immediately recognizable, but the brush marks and irregularity of the shapes return them to the realm of craft and material painting. The work asks whether we encounter everyday objects as observations or as pre-learned images.