STUDIO PAINTINGS

Transitioning to purely painted works created entirely in the studio, the series explores physical tension through contrasting applications of the medium across different substrates.

In some pieces, heavily textured egg forms sit atop seductive, flat yellow grounds on primed canvas. This heavy application of oil purposefully breaks the glossy illusion of corporate branding to expose a messy, visceral reality underneath.

In other works, acrylic is applied directly to unprimed canvas. Here, the paint soaks into the raw weave of the fabric. This process strips away the traditional gloss of fine art to expose a much more vulnerable foundation. This material investigation also extends to rigid wooden substrates, as seen in YOLKO 22 (2026). The use of a raw wood panel further strips the work of fine art gloss, aligning it materially with the banal objects of consumption it critiques.

Across all these paintings, the visual vocabulary expands to include graphic disruptions, such as diagonal lines translated from single-use plastic straws or vertical machinery motifs. These marks hover ambiguously between decorative sunbeams and structures of confinement. By stripping the imagery back to these open emblems, the works refuse a single, didactic reading. Instead, they hold a space for the friction between manufactured joy and systemic fragility.

YOLKO 24 (2025-2026)
Oil and acrylic on canvas
35 x 42 x 3 cm