Untitled 121

This work stages a disciplined collision of opposites—violet against crimson, acid green against pale light—where each quadrant radiates outward in ribbed strokes that feel simultaneously mechanical and hand-wrought. The concentric, off-center oval acts like an aperture or compass point, pulling the eye into a tense equilibrium between expansion and containment, as if the painting measures the pulse of its own energy. Light is not depicted but constructed through contrast and relief, turning color into a kind of vibration that suggests inner calibration: a psyche split into facets yet held together by a singular axis of symmetry.