Monstera Ascent
80 × 60 × 4 cm
Acrylic on canvas.
In this painting from the Ascent series, the staircase becomes more than a structural element—it is a metaphorical device, inviting the viewer into a suspended, luminous space where upward movement implies growth, transformation, and perhaps transcendence. The pastel hues and fluid, bleeding textures introduce an atmosphere that is both ethereal and uncertain, suggesting that ascent is not linear or easy, but rather filled with ambiguity. The architecture feels dreamlike and uninhabited, offering no clear resolution or endpoint. Instead, the stairs float in a kind of conceptual limbo, referencing the silent, absent architectures explored by Rachael Whiteread, whose castings of stairs, voids, and domestic spaces evoke memory and the imprint of movement long gone.
The staircase in this composition acts as a visual “plateau” in Deleuze and Guattari’s sense of the word—a point of intensity, transformation, and becoming that resists fixed meaning. In A Thousand Plateaus, they write of assemblages and rhizomatic systems, of movement not as progress but as constant deterritorialization—a fluid state of becoming rather than arrival. This idea resonates deeply here: the stairs don’t simply carry a body upward; they unfold space in unpredictable directions. The dripping paint and organic intrusions—plants pushing through cracks and corners—suggest that architecture and nature, structure and chaos, are not opposites but entangled forces. The painting, in this light, becomes an abstracted map of possibility—less about destination than navigation.
While the work suggests hope and opportunity, it also acknowledges uncertainty and fragility. The architectural elements are clean and rational, but they are invaded by the unruly, the unplanned—dripping color, wild growth, and softness overtaking rigidity. This tension reflects the emotional truth of ascent: that upward movement, whether psychological, spiritual, or personal, often comes with instability and risk. The absence of a human figure leaves the viewer in the position of the climber—invited, perhaps challenged, to ascend. The image becomes a quiet meditation on perseverance, echoing the way in which we construct our own inner architectures—not to escape the world, but to rise within it.
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80 × 60 × 4 cm
Acrylic on canvas.
In this painting from the Ascent series, the staircase becomes more than a structural element—it is a metaphorical device, inviting the viewer into a suspended, luminous space where upward movement implies growth, transformation, and perhaps transcendence. The pastel hues and fluid, bleeding textures introduce an atmosphere that is both ethereal and uncertain, suggesting that ascent is not linear or easy, but rather filled with ambiguity. The architecture feels dreamlike and uninhabited, offering no clear resolution or endpoint. Instead, the stairs float in a kind of conceptual limbo, referencing the silent, absent architectures explored by Rachael Whiteread, whose castings of stairs, voids, and domestic spaces evoke memory and the imprint of movement long gone.
The staircase in this composition acts as a visual “plateau” in Deleuze and Guattari’s sense of the word—a point of intensity, transformation, and becoming that resists fixed meaning. In A Thousand Plateaus, they write of assemblages and rhizomatic systems, of movement not as progress but as constant deterritorialization—a fluid state of becoming rather than arrival. This idea resonates deeply here: the stairs don’t simply carry a body upward; they unfold space in unpredictable directions. The dripping paint and organic intrusions—plants pushing through cracks and corners—suggest that architecture and nature, structure and chaos, are not opposites but entangled forces. The painting, in this light, becomes an abstracted map of possibility—less about destination than navigation.
While the work suggests hope and opportunity, it also acknowledges uncertainty and fragility. The architectural elements are clean and rational, but they are invaded by the unruly, the unplanned—dripping color, wild growth, and softness overtaking rigidity. This tension reflects the emotional truth of ascent: that upward movement, whether psychological, spiritual, or personal, often comes with instability and risk. The absence of a human figure leaves the viewer in the position of the climber—invited, perhaps challenged, to ascend. The image becomes a quiet meditation on perseverance, echoing the way in which we construct our own inner architectures—not to escape the world, but to rise within it.
Free shipping anywhere in the world.
80 × 60 × 4 cm
Acrylic on canvas.
In this painting from the Ascent series, the staircase becomes more than a structural element—it is a metaphorical device, inviting the viewer into a suspended, luminous space where upward movement implies growth, transformation, and perhaps transcendence. The pastel hues and fluid, bleeding textures introduce an atmosphere that is both ethereal and uncertain, suggesting that ascent is not linear or easy, but rather filled with ambiguity. The architecture feels dreamlike and uninhabited, offering no clear resolution or endpoint. Instead, the stairs float in a kind of conceptual limbo, referencing the silent, absent architectures explored by Rachael Whiteread, whose castings of stairs, voids, and domestic spaces evoke memory and the imprint of movement long gone.
The staircase in this composition acts as a visual “plateau” in Deleuze and Guattari’s sense of the word—a point of intensity, transformation, and becoming that resists fixed meaning. In A Thousand Plateaus, they write of assemblages and rhizomatic systems, of movement not as progress but as constant deterritorialization—a fluid state of becoming rather than arrival. This idea resonates deeply here: the stairs don’t simply carry a body upward; they unfold space in unpredictable directions. The dripping paint and organic intrusions—plants pushing through cracks and corners—suggest that architecture and nature, structure and chaos, are not opposites but entangled forces. The painting, in this light, becomes an abstracted map of possibility—less about destination than navigation.
While the work suggests hope and opportunity, it also acknowledges uncertainty and fragility. The architectural elements are clean and rational, but they are invaded by the unruly, the unplanned—dripping color, wild growth, and softness overtaking rigidity. This tension reflects the emotional truth of ascent: that upward movement, whether psychological, spiritual, or personal, often comes with instability and risk. The absence of a human figure leaves the viewer in the position of the climber—invited, perhaps challenged, to ascend. The image becomes a quiet meditation on perseverance, echoing the way in which we construct our own inner architectures—not to escape the world, but to rise within it.
Free shipping anywhere in the world.