This work is built from rigid vertical structures interrupted by a heavy, suspended arc that cuts across the surface under visible strain. Red pillars stand as load-bearing elements, compressed between scraped greys, off-whites, and darker fields that show clear signs of abrasion and revision. The surface feels constructed, stressed, and held in place rather than…
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This figure appears compressed into a fractured structure, its surface built from scraped layers, compacted seams, and scuffed planes that feel accumulated rather than composed. The body is not placed against the grid; it seems drawn out of it, shaped by pressure and resistance rather than movement. Marks overlap and collide, leaving the history of…
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What the Structure Refuses to Release is built from load, containment, and resistance. The surface is divided into rigid zones—triangular, circular, and rectangular forms held in place by linear constraints. These shapes do not float or harmonise; they sit under pressure, bearing weight and showing the consequences of stress through cracking, abrasion, and fracture. Material…
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Where the Air Is Paying Attention operates as a field of reception rather than representation. The surface behaves like an environment under influence—layered, disturbed, and responsive to forces that remain unseen. Broad sweeps of warm and cool tones slide past one another without fully merging, creating a sense of density and movement rather than landscape….
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This work is organised around a pronounced rupture that splits the surface into opposing fields. Layered colour bands appear scraped back and rebuilt, revealing fractures, exposed seams, and irregular transitions. The central divide reads as a fault line rather than a graphic device — torn, metallic, and uneven, carrying the weight of pressure and separation….
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