There are periods in the studio where a single colour begins to assert itself — not by force, but by repetition. It reappears across different works, in different roles, until it becomes part of the structure of how I’m thinking.
For me, that colour has become what I think of as Structural Vermilion.
This isn’t red used for drama alone. It’s an architectural red — one that carries weight, tension, and balance. Sometimes it takes the lead as a focal element; other times it sits quietly within the composition, holding the work together without announcing itself.
Across recent pieces, this red has acted as a point of momentum — a way of introducing movement, friction, or resolve within otherwise restrained forms. Whether it appears as a curve, a division, or a single decisive passage, it functions less as decoration and more as framework.
Colour, in this sense, becomes part of the build rather than the finish. Structural Vermilion isn’t about intensity for its own sake — it’s about support, connection, and the unseen forces that allow a composition to stand.