Periphery
130 x 100 x 4 cm
Acrylic and spray paint on canvas.
Free shipping anywhere in the world.
A young figure is nestled within the tangled threshold of nature and architecture, poised on the cusp of movement yet deeply still. Their posture—knees drawn close, hands delicately reaching—conveys a vulnerability that speaks of emotional fragility, as if they are holding themselves together amid the growth and chaos around them. There’s a tension between their physical youth and a psychological weight, evoking what Judith Butler might call the “precariousness of the body,” particularly in spaces that blur safety and exposure. The viewer is invited into a moment of intimacy that feels simultaneously raw and tender.
Despite the figure’s stillness, there is an undeniable rhythm in the composition. The cascading vines, the warped geometry of the tiled steps, and the outstretched arm all hint at motion paused—like a breath held just before release. This choreography of stillness suggests a quiet anticipation, where the act of waiting becomes almost performative. It’s a static moment, yet charged with potential, as if the figure might shift or sway at any instant. Their presence seems both tethered and weightless, caught in a liminal space between interior thought and external change.
The chromatic intensity of the image is unrelenting. Vivid cadmium reds collide with deep ultramarine blues, creating an optical vibration that disorients even as it captivates. Josef Albers observes how adjacent hues can destabilize perception and intensify emotional impact. The red and blue do not merely frame the image—they shape its psychological terrain. This duality generates a simultaneous sense of warmth and melancholy, of danger and allure. It is in this visual friction that the painting finds its emotional force: not in harmony, but in the tremble of its imbalance.
130 x 100 x 4 cm
Acrylic and spray paint on canvas.
Free shipping anywhere in the world.
A young figure is nestled within the tangled threshold of nature and architecture, poised on the cusp of movement yet deeply still. Their posture—knees drawn close, hands delicately reaching—conveys a vulnerability that speaks of emotional fragility, as if they are holding themselves together amid the growth and chaos around them. There’s a tension between their physical youth and a psychological weight, evoking what Judith Butler might call the “precariousness of the body,” particularly in spaces that blur safety and exposure. The viewer is invited into a moment of intimacy that feels simultaneously raw and tender.
Despite the figure’s stillness, there is an undeniable rhythm in the composition. The cascading vines, the warped geometry of the tiled steps, and the outstretched arm all hint at motion paused—like a breath held just before release. This choreography of stillness suggests a quiet anticipation, where the act of waiting becomes almost performative. It’s a static moment, yet charged with potential, as if the figure might shift or sway at any instant. Their presence seems both tethered and weightless, caught in a liminal space between interior thought and external change.
The chromatic intensity of the image is unrelenting. Vivid cadmium reds collide with deep ultramarine blues, creating an optical vibration that disorients even as it captivates. Josef Albers observes how adjacent hues can destabilize perception and intensify emotional impact. The red and blue do not merely frame the image—they shape its psychological terrain. This duality generates a simultaneous sense of warmth and melancholy, of danger and allure. It is in this visual friction that the painting finds its emotional force: not in harmony, but in the tremble of its imbalance.
130 x 100 x 4 cm
Acrylic and spray paint on canvas.
Free shipping anywhere in the world.
A young figure is nestled within the tangled threshold of nature and architecture, poised on the cusp of movement yet deeply still. Their posture—knees drawn close, hands delicately reaching—conveys a vulnerability that speaks of emotional fragility, as if they are holding themselves together amid the growth and chaos around them. There’s a tension between their physical youth and a psychological weight, evoking what Judith Butler might call the “precariousness of the body,” particularly in spaces that blur safety and exposure. The viewer is invited into a moment of intimacy that feels simultaneously raw and tender.
Despite the figure’s stillness, there is an undeniable rhythm in the composition. The cascading vines, the warped geometry of the tiled steps, and the outstretched arm all hint at motion paused—like a breath held just before release. This choreography of stillness suggests a quiet anticipation, where the act of waiting becomes almost performative. It’s a static moment, yet charged with potential, as if the figure might shift or sway at any instant. Their presence seems both tethered and weightless, caught in a liminal space between interior thought and external change.
The chromatic intensity of the image is unrelenting. Vivid cadmium reds collide with deep ultramarine blues, creating an optical vibration that disorients even as it captivates. Josef Albers observes how adjacent hues can destabilize perception and intensify emotional impact. The red and blue do not merely frame the image—they shape its psychological terrain. This duality generates a simultaneous sense of warmth and melancholy, of danger and allure. It is in this visual friction that the painting finds its emotional force: not in harmony, but in the tremble of its imbalance.