

Two saturated red discs anchor the field like blunt pulses of signal and silence, their imperfect edges insisting on the hand’s presence rather than the purity of geometry. Against a mottled ground of sandy browns and ash-like flecks, the paint reads as both proclamation and bruise—an intensity held in check by abrasion, dust, and the slow work of weathering. The small red fragments that drift between the circles behave like ruptured notation, turning the space into a quiet ledger of interruption and return, as if the image were recording the friction between desire for order and the persistence of entropy. What emerges is a spare, bodily symmetry—part ritual mark, part industrial residue—where repetition becomes memory and the surface becomes time.







