This work is built from weight and interruption. Thick planes of pigment sit forward from the surface, while darker fields and fractured grounds press back, creating a constant negotiation between stability and displacement. The surface carries visible stress: scraped edges, scored lines, and uneven layers that refuse to settle into a single, resolved state. The…
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This work is built from layered planes, scraped surfaces, and deliberate interruptions that leave the process exposed rather than refined away. Cool greys and slate tones form a restrained ground, repeatedly fractured by scorched oranges, deep reds, and a vertical field of compressed blue that holds the composition upright. The structure is architectural in nature….
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This work is constructed through layered planes, restrained colour, and deliberate pacing. Broad fields of grey and off-white are worked and scraped, leaving subtle ridges and interruptions that expose the process without becoming disruptive. The surface remains active, but controlled. Structural forms dominate the composition. White sections act as stabilising masses, anchoring the eye and…
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The surface of Counterweight Dialogue is visibly worked and left exposed. Broad circular forms are scored and scraped into place, their edges roughened and uneven, with paint allowed to pool, drag, and break under its own weight. Drips run vertically through the composition, dark and uninterrupted, recording gravity rather than gesture. The surface carries scuffs, fractures,…
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The surface of Divided Bearing is scraped, fractured, and left visibly worked. Large circular forms carry cracked skins and broken edges, with paint split and stressed rather than smoothed into continuity. The red upper disc shows clear rupture: fissures, abrasions, and areas where material has lifted and broken back, exposing the history of pressure beneath….
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The surface of Faultline Assembly is layered, scraped, and left open to inspection. Each quadrant carries its own density and abrasion: chalked passages, fractured fields, and areas where pigment thins or clouds rather than settles. The texture reads as worked and revised, with no attempt to unify the surface into a single finish. Small flecks,…
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This work presents a surface that is scored, layered, and deliberately unsettled. Broad scraped arcs cut across a fractured field of blocks and bands, leaving behind evidence of pressure, revision, and abrasion. Cream and mineral tones are dragged and broken open, exposing deeper strata of blue, violet, rust, and muted red beneath. The composition holds…
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This work is constructed through intersecting arcs, circular forms, and segmented planes that collectively assemble a human visage. Geometry is not applied as overlay or decoration; it operates as the underlying structure from which the face emerges. The composition balances density with clarity. Repeating circular motifs guide the eye across the surface, while the facial…
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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 surface that is layered, scraped, and gently unsettled, with visible strokes and broken planes that record the process of making rather than conceal it. Broad fields of softened blue and grey are fractured by warmer bands of ochre, coral, and pale rose, creating a horizon that feels formed through accumulation rather…
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The surface of this work is marked and worked through, carrying visible layers of scraped pigment, scored arcs, and fractured planes. Colour is built up and worn back, leaving evidence of pressure, revision, and restraint. Ochres, oxidised blues, raw creams, and deep umbers sit in uneven fields, their edges imperfect and unsettled. Geometric structure is…
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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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Intersecting Calm brings structured abstraction into a more chromatic register while maintaining compositional discipline. A visible grid anchors the surface, acting as a stabilising framework for layered colour fields and textured transitions. Within this structure, warm and cool tones meet without collision, creating balance through interruption rather than symmetry. The circular form is partially restrained…
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Measured Stillness is a restrained geometric abstraction built around balance, proportion, and quiet tension. A dominant pale circular form anchors the composition, intersected by vertical and horizontal divisions that introduce structure without rigidity. The geometry feels deliberate and calibrated, allowing space and form to coexist without hierarchy. Muted greys, soft stone tones, and subtle dark…
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The surface of Measured Under Weight is built through accumulation and restraint. Vertical forms rise as compressed masses, their skins scored, scraped, and repeatedly reworked. Surfaces show abrasion and revision — fractured planes, dulled metallic passages, and areas where pigment has thinned or clouded rather than settled. Nothing is resolved into polish; the work carries…
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