Untitled 78

Against a smoky ground of grays and bruised blacks, the painting stages a quiet collision of planes—blocks of red, cyan, violet, and ochre drifting like imperfect memories trying to align. Two thin white slashes cut diagonally through the field, functioning as both seam and scar, pulling the eye across fractured space while insisting on an underlying order. The rough, rubbed textures suggest time’s abrasion, turning color into a pulse of resilience within a landscape of uncertainty. What emerges is a map of interior architecture—where structure is provisional, and harmony is negotiated rather than found.