The surface is fractured and unsettled, built from layered blue fields scored with fine cracks and interruptions that refuse smooth resolution. Pigment is dragged, scraped, and broken back, leaving stress lines visible beneath the colour. The ground does not read as open space; it feels pressurised, unstable, and resistant. A bird form emerges mid-ascent, constructed…
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This work presents a fragmented visage constructed from layered planes and interlocking forms, where division is used as structure rather than disruption. Each segment holds its place with intent, forming a face that feels built through accumulation rather than distortion. Muted blues and greys establish a grounded, introspective field, while ochre and rust-toned elements introduce…
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This work is constructed from compressed blocks of colour that feel placed, stressed, and partially undone. Rectangular fields of pink, blue, ochre, navy, and white are layered thickly, then fractured by scrapes, breaks, and vertical drips that cut through the structure. The surface carries the weight of assembly rather than arrangement. The composition suggests a…
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Gilded Stillness presents a restrained yet charged portrait built from tension rather than expression. The face is reduced to its essential architecture—eyes, nose, mouth—drawn in fine metallic line that feels simultaneously delicate and unyielding. These lines do not decorate the surface; they trace it cautiously, as if aware that any excess would fracture the balance….
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This work presents a fractured portrait built from scraped, layered surfaces and restrained line work. The ground is visibly worked and unsettled, marked by scuffs, smears, and compressed tonal shifts in grey, ash, and muted earth. Nothing is smoothed or concealed; the surface carries the record of pressure and revision. The face emerges through interruption…
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The surface of Held Between Bloom and Break is layered and thinned, with translucent passages stretched across the field rather than built up for density. Petal forms appear scored and pulled into place, their edges uneven and fragile, as if the material has been drawn outward to the point of strain. Washes bleed and stain…
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This work presents a face assembled from worn surfaces, fractured planes, and patched fragments that refuse to fully resolve. Layers appear scraped back and re-applied, with visible seams, abrasions, and uneven joins left deliberately exposed. The surface carries the evidence of revision — areas that look repaired rather than refined, as though stability has been…
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Held in the Current brings figurative presence into a layered abstract field without breaking structural discipline. Flowing bands of colour and texture move laterally across the surface, carrying a softly rendered face that appears embedded within the motion rather than placed upon it. Warm ochres and reds are counterbalanced by cool blues and deep charcoal…
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This portrait is built from darkness, restraint, and exposed process. The face emerges from a battered, layered ground where scraped greys, bruised browns, and worn metallic tones sit like sediment. The surface is scarred and unsettled — scuffed, cracked, and uneven — with nothing smoothed over or concealed. A fine wire contour draws the form…
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The surface is scored and fractured, built from layered abrasions, dragged pigment, and broken fields that press against one another without settling. Marks appear scraped back and reworked, leaving scars where earlier decisions were forced to give way. The composition feels compressed, as if the image has absorbed pressure over time rather than arriving at…
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This work is defined by a single, dominant rupture that cuts horizontally across the surface, dividing the composition into two tense, interdependent fields. Above and below this line, the surface behaves differently, as though subjected to unequal pressures that refuse to reconcile. Heavy black forms press inward from both registers, compressing the space and forcing…
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This work is defined by a single, dominant rupture that cuts horizontally across the surface, dividing the composition into two tense, interdependent fields. Above and below this line, the surface behaves differently, as though subjected to unequal pressures that refuse to reconcile. Heavy black forms press inward from both registers, compressing the space and forcing…
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This work is built around compression and balance. Overlapping circular forms press into one another, their edges softened by abrasion, cracking, and layered paint that shows clear evidence of handling and revision. The surface feels compacted rather than expansive, as if each element has settled into place through gradual pressure rather than force. Muted blues…
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