130 × 100 × 4 cm
Acrylic on canvas.
Free shipping anywhere in the world.
I approached the work as a constellation of images rather than a fixed narrative. Each panel operates independently, yet together they invite the viewer to assemble their own story. I was drawn to the cave as a threshold space—a place of passage rather than arrival. It suggests entering something unknown, echoing Gaston Bachelard’s writing on intimate spaces and how they hold memory, imagination, and projection. The cave becomes less a location than a psychological crossing point.
Around this, other images carry traces of desire, vulnerability, and spirituality. Figures appear caught between states—reaching, surrendering, awakening. I was thinking about how writers like Georges Bataille or Marguerite Duras speak of desire as something that destabilises order, pushing us beyond rational structure. These fragments don’t resolve into clarity; instead, they hover, allowing emotional and symbolic associations to emerge without being pinned down.
The process itself was central. I built the work through layers of paint, letting light surface and recede, so that images feel as if they are surfacing from within the painting rather than placed on top. The rocket introduces a charged ambiguity: it can signal transcendence, escape, or aspiration, but also conflict and rupture. Like the work as a whole, it holds tension between hope and unease, suggesting that movement toward another place—psychic or physical—always carries risk as well as possibility.
130 × 100 × 4 cm
Acrylic on canvas.
Free shipping anywhere in the world.
I approached the work as a constellation of images rather than a fixed narrative. Each panel operates independently, yet together they invite the viewer to assemble their own story. I was drawn to the cave as a threshold space—a place of passage rather than arrival. It suggests entering something unknown, echoing Gaston Bachelard’s writing on intimate spaces and how they hold memory, imagination, and projection. The cave becomes less a location than a psychological crossing point.
Around this, other images carry traces of desire, vulnerability, and spirituality. Figures appear caught between states—reaching, surrendering, awakening. I was thinking about how writers like Georges Bataille or Marguerite Duras speak of desire as something that destabilises order, pushing us beyond rational structure. These fragments don’t resolve into clarity; instead, they hover, allowing emotional and symbolic associations to emerge without being pinned down.
The process itself was central. I built the work through layers of paint, letting light surface and recede, so that images feel as if they are surfacing from within the painting rather than placed on top. The rocket introduces a charged ambiguity: it can signal transcendence, escape, or aspiration, but also conflict and rupture. Like the work as a whole, it holds tension between hope and unease, suggesting that movement toward another place—psychic or physical—always carries risk as well as possibility.
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