Mouthwater Between Us
20 × 25 × 4 cm (10 × 8 inches)
Acrylic on canvas.
The painting pulses with the ecstatic energy of bodies on the verge of dissolution. Color is not used to outline form but to evoke sensation—heat, wetness, urgency. Figures lean into one another, mouths open and tongues out, not in quiet intimacy but in a spectacle of hunger. Their proximity is electric, as if the image itself sweats with desire. Lust here is not coy or hidden; it floods the canvas, saturates it. What unfolds is not a moment of restraint, but total submission to the present—the kind of moment that erases self-awareness and draws everything into the gravity of touch.
The drips and smears across the surface echo the viscous excess of bodies overwhelmed. Saliva, often considered taboo or abject, becomes a painterly motif—stretched and suspended like threads between mouths, it suggests not just physical exchange, but a collapse of boundaries. The work draws on the logic of Félix González-Torres, whose installations invite touch, sweetness, and gradual dissolution. Here, however, the offering is messier—bodily, immediate, and intimate to the point of erasure. Desire appears not as clean longing, but as a shared, consuming force. Paint behaves like sweat or spit, running in rivulets, as if the figures are melting into one another, unable or unwilling to remain distinct.
Threaded through this is the pulse of Dionysian desire, in the Nietzschean sense—a force that intoxicates, unbinds, and overwhelms form. The ecstatic blur of colors, the radiant flushes, and the fluid boundaries suggest not only carnal pleasure but the joy of losing oneself entirely in another. The image becomes a site of undoing and affirmation at once. What remains is not a portrait of love or lust alone, but of a state where the self gives way to sensation, where pleasure and identity dissolve into colour, into gesture, into moment.
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20 × 25 × 4 cm (10 × 8 inches)
Acrylic on canvas.
The painting pulses with the ecstatic energy of bodies on the verge of dissolution. Color is not used to outline form but to evoke sensation—heat, wetness, urgency. Figures lean into one another, mouths open and tongues out, not in quiet intimacy but in a spectacle of hunger. Their proximity is electric, as if the image itself sweats with desire. Lust here is not coy or hidden; it floods the canvas, saturates it. What unfolds is not a moment of restraint, but total submission to the present—the kind of moment that erases self-awareness and draws everything into the gravity of touch.
The drips and smears across the surface echo the viscous excess of bodies overwhelmed. Saliva, often considered taboo or abject, becomes a painterly motif—stretched and suspended like threads between mouths, it suggests not just physical exchange, but a collapse of boundaries. The work draws on the logic of Félix González-Torres, whose installations invite touch, sweetness, and gradual dissolution. Here, however, the offering is messier—bodily, immediate, and intimate to the point of erasure. Desire appears not as clean longing, but as a shared, consuming force. Paint behaves like sweat or spit, running in rivulets, as if the figures are melting into one another, unable or unwilling to remain distinct.
Threaded through this is the pulse of Dionysian desire, in the Nietzschean sense—a force that intoxicates, unbinds, and overwhelms form. The ecstatic blur of colors, the radiant flushes, and the fluid boundaries suggest not only carnal pleasure but the joy of losing oneself entirely in another. The image becomes a site of undoing and affirmation at once. What remains is not a portrait of love or lust alone, but of a state where the self gives way to sensation, where pleasure and identity dissolve into colour, into gesture, into moment.
Free shipping anywhere in the world.
20 × 25 × 4 cm (10 × 8 inches)
Acrylic on canvas.
The painting pulses with the ecstatic energy of bodies on the verge of dissolution. Color is not used to outline form but to evoke sensation—heat, wetness, urgency. Figures lean into one another, mouths open and tongues out, not in quiet intimacy but in a spectacle of hunger. Their proximity is electric, as if the image itself sweats with desire. Lust here is not coy or hidden; it floods the canvas, saturates it. What unfolds is not a moment of restraint, but total submission to the present—the kind of moment that erases self-awareness and draws everything into the gravity of touch.
The drips and smears across the surface echo the viscous excess of bodies overwhelmed. Saliva, often considered taboo or abject, becomes a painterly motif—stretched and suspended like threads between mouths, it suggests not just physical exchange, but a collapse of boundaries. The work draws on the logic of Félix González-Torres, whose installations invite touch, sweetness, and gradual dissolution. Here, however, the offering is messier—bodily, immediate, and intimate to the point of erasure. Desire appears not as clean longing, but as a shared, consuming force. Paint behaves like sweat or spit, running in rivulets, as if the figures are melting into one another, unable or unwilling to remain distinct.
Threaded through this is the pulse of Dionysian desire, in the Nietzschean sense—a force that intoxicates, unbinds, and overwhelms form. The ecstatic blur of colors, the radiant flushes, and the fluid boundaries suggest not only carnal pleasure but the joy of losing oneself entirely in another. The image becomes a site of undoing and affirmation at once. What remains is not a portrait of love or lust alone, but of a state where the self gives way to sensation, where pleasure and identity dissolve into colour, into gesture, into moment.
Free shipping anywhere in the world.