emblematic abstractions

In concurrent studio works, the focus shifts to the structural and associative properties of colour, texture, and space. Moving across both canvas and linen, these paintings feature dense, heavily worked backgrounds ranging from highly saturated reds to muted, dark expanses.

Against these textured surfaces, the central motifs operate in a state of deliberate ambiguity. In paintings such as Pushing Back (2024-2026) and More Fragile Than We Thought (2025-2026), organic shapes are placed in direct opposition to rigid structures (such as the diagonal cut of a straw, sharp zigzags, or tight, nested borders). Conversely, in works like Nothing in Isolation (2025-2026), these strict boundaries begin to dissolve. Embracing a more fluid, uninhibited application of paint, the central forms lean together, replacing structures of containment with visual markers of mutual reliance. The 2025 triptych, The Odds Are There to Beat, fragments these central motifs across multiple panels. Set against textured red surfaces, the fluid emblems are isolated from their broader context. By pitting the visual resilience of these organic forms against harsh, restrictive backgrounds, the work explores connection not as sentimentality, but as an act of resistance.

By keeping the visual language flat and resisting traditional perspective, the paintings emphasise the friction between linear boundaries and softer, uninhibited marks. This approach actively questions the division between organic life and manufactured environments. By holding these opposing visual forces in constant tension, the series sustains a deliberate oscillation between rigorous systemic critique and radical hope.