Untitled 12 (Crimson Divide)

A field of incandescent reds and tangerine-orange is organized into two tense panels, as if a single sensation has been split down the middle and asked to speak in echoes. Triangular apertures and angled strokes hover between architecture and ember—forms that suggest scaffolding, warning signs, or half-remembered windows—while thin veils of paint alternately reveal and conceal what lies beneath. The central dark seam functions like a fault line, turning pure color into a psychological space where heat becomes structure and intensity becomes a kind of fragile order. In this compressed glow, the work reads as both ignition and containment: passion disciplined into geometry, and geometry softened by breath-like translucence.