The light in Victor’s paintings is always muted and filtered, there is no black or whitest white. In the paintings the background is a still life as well as the foreground. Against the backdrop of a tight staged, Tuscan landscape he places a composition of utensils, which each look like coming from ancient times. The matured still life – literally a ‘natura morta’- strengthened the stillness of the ‘eternal’ landscape behind it, an atmosphere of timelessness. The artist himself: ‘This atmosphere is very important to me, the idea that the landscape is standing still, no sun, no wind, no rain, no time, only an everlasting constant.