80 × 60 × 4 cm
Acrylic on canvas.
This painting is part of a series that treats division not as separation but as relationship — two halves that only fully exist through one another. Light acts as the connective force, understood not simply as illumination but as a presence moving between spaces. In the lower half, an ordinary light fitting becomes quietly elevated, echoing the attention to everyday objects found in the films of Andrei Tarkovsky, where duration and stillness allow the familiar to take on a spiritual weight. The work suggests that transcendence is not elsewhere, but embedded within ordinary encounters with light.
In the upper half, light shifts into a more playful register. Rainbow arches bridge the urns, creating a connection that feels both physical and improbable. The gesture intentionally embraces sincerity and humour, allowing light to behave almost like a living material — something capable of touch, movement, and relationship. The painting moves between recognition and imagination, proposing that playfulness is not opposed to meaning but another way of approaching it.
Throughout the history of painting, light has been central not only as a tool for depiction but as a way of thinking about perception, presence, and life itself. Here, light is treated as something tangible, a substance that links objects and viewers across the divided surface. This approach resonates with artists such as James Turrell and Olafur Eliasson, who understand light as an environment rather than an effect. Across both halves, light becomes a connective energy — mundane and magical at once — suggesting a shared space between physical reality and lived experience.
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80 × 60 × 4 cm
Acrylic on canvas.
This painting is part of a series that treats division not as separation but as relationship — two halves that only fully exist through one another. Light acts as the connective force, understood not simply as illumination but as a presence moving between spaces. In the lower half, an ordinary light fitting becomes quietly elevated, echoing the attention to everyday objects found in the films of Andrei Tarkovsky, where duration and stillness allow the familiar to take on a spiritual weight. The work suggests that transcendence is not elsewhere, but embedded within ordinary encounters with light.
In the upper half, light shifts into a more playful register. Rainbow arches bridge the urns, creating a connection that feels both physical and improbable. The gesture intentionally embraces sincerity and humour, allowing light to behave almost like a living material — something capable of touch, movement, and relationship. The painting moves between recognition and imagination, proposing that playfulness is not opposed to meaning but another way of approaching it.
Throughout the history of painting, light has been central not only as a tool for depiction but as a way of thinking about perception, presence, and life itself. Here, light is treated as something tangible, a substance that links objects and viewers across the divided surface. This approach resonates with artists such as James Turrell and Olafur Eliasson, who understand light as an environment rather than an effect. Across both halves, light becomes a connective energy — mundane and magical at once — suggesting a shared space between physical reality and lived experience.
Free shipping anywhere in the world.
