A Labour (Ephemeral Forms: A Diptych of Dripping Figures)

This diptych stages two figures in partial erasure, their bodies and faces dissolving into downward rivulets as if identity were being rinsed through time and memory. The stark whites of the garments and ground act like a clinical light, intensifying the bruised ochres, greens, and reds that pool and bleed—color becoming both flesh and emotional residue. By cropping the forms and letting gravity dictate the paint’s descent, the composition turns portraiture into a meditation on vulnerability: presence persists, yet the self remains perpetually in the act of slipping away.