



This charcoal study compresses horse and rider into a single vortex of motion, where looping, repeated arcs behave like afterimages—time made visible through insistently overdrawn lines. The figure’s anatomy is less described than summoned, emerging from velvety black densities into translucent sweeps that suggest breath, strain, and acceleration. The spare white ground becomes an arena of silence against which the turmoil of marks reads as both triumph and precarious balance, a meditation on control tested at the edge of speed.







