Spring, Summer, Autumn, and Winter are more than successive moments in the calendar. Each reveals a distinct psychological and mythological landscape. Renewal, abundance, decline, and dissolution become stages in a larger rhythm governing both nature and civilization.

At the center stands a stone idol reminiscent of the ancient civilizations of Mesoamerica, particularly the Aztec and Maya worlds. Beside it, two figures suggest early Christian or perhaps pre-Christian worshippers. Their presence creates an encounter between spiritual traditions that belong to different cultures and historical periods. The scene does not depict a recognizable religious ceremony. Instead, it evokes humanity's enduring impulse to seek contact with the sacred, even as the names and forms of the gods change.

Around this central image, four distinct worlds unfold. Human figures, classical sculpture, fantastic creatures, ritual objects, and dreamlike landscapes inhabit separate yet interconnected spaces. Each suggests a different state of existence, yet all belong to the same recurring cycle of creation, vitality, decline, and transformation.

The painting extends the seasonal cycle beyond nature into the history of civilizations. Cultures and belief systems emerge, flourish, fade, and sometimes survive in altered forms. The ancient idol and the figures gathered beside it suggest that while religions and societies change, the human desire to understand and engage with forces beyond the visible world persists.

In Seasons, time is not a straight line but a recurring movement. Beneath the changing faces of history, the rhythms of nature, mythology, and human consciousness continue to unfold.