Echo Ascent
110 × 90 × 4 cm
Acrylic on canvas.
Free shipping anywhere in the world.
This painting draws the viewer downwards into a flooded underpass beneath a staircase and a canopy of tropical plants. The vegetation, with its colours inverted to lurid fluorescents, creates an optical dissonance that both attracts and unsettles. The descent from light into darkness recalls Julia Kristeva’s theory of the abject — the space where what should be separate or repelled exerts a disturbing fascination. The painting’s atmosphere is almost tactile, the air heavy with tension as the viewer is pulled into an uncanny zone where the familiar (plants, stairs, water) becomes charged with threat. The work captures the moment where beauty reveals its darker undercurrent, offering a psychological as well as a physical passage. The viewer is left suspended between the allure of light and the menace of what lies beneath.
110 × 90 × 4 cm
Acrylic on canvas.
Free shipping anywhere in the world.
This painting draws the viewer downwards into a flooded underpass beneath a staircase and a canopy of tropical plants. The vegetation, with its colours inverted to lurid fluorescents, creates an optical dissonance that both attracts and unsettles. The descent from light into darkness recalls Julia Kristeva’s theory of the abject — the space where what should be separate or repelled exerts a disturbing fascination. The painting’s atmosphere is almost tactile, the air heavy with tension as the viewer is pulled into an uncanny zone where the familiar (plants, stairs, water) becomes charged with threat. The work captures the moment where beauty reveals its darker undercurrent, offering a psychological as well as a physical passage. The viewer is left suspended between the allure of light and the menace of what lies beneath.
110 × 90 × 4 cm
Acrylic on canvas.
Free shipping anywhere in the world.
This painting draws the viewer downwards into a flooded underpass beneath a staircase and a canopy of tropical plants. The vegetation, with its colours inverted to lurid fluorescents, creates an optical dissonance that both attracts and unsettles. The descent from light into darkness recalls Julia Kristeva’s theory of the abject — the space where what should be separate or repelled exerts a disturbing fascination. The painting’s atmosphere is almost tactile, the air heavy with tension as the viewer is pulled into an uncanny zone where the familiar (plants, stairs, water) becomes charged with threat. The work captures the moment where beauty reveals its darker undercurrent, offering a psychological as well as a physical passage. The viewer is left suspended between the allure of light and the menace of what lies beneath.