Untitled 122 (Shifting Sands)

This composition stages a precarious equilibrium of fractured planes, where ochres and slate-greys hover like suspended architecture over a luminous central rupture. The soft gradients read as atmospheric distance, yet the sharper, triangulated forms insist on collision—suggesting memory crystallizing into structure and then breaking apart again. Light gathers at the seams, turning the “wounds” between shapes into passages, as if the painting is less a landscape than a meditation on thresholds: collapse transformed into ascent.