Beneath the breathing canopy

These oil on canvas works inhabit a distinctive space of referential abstraction, where landscape and the vestiges of natural phenomena are transfigured through formal experimentation and gestural invention. Rather than using oil paint to achieve its customary lushness or illusionistic depth, the artist subverts prevailing traditions—here, oil becomes a tool for atmospheric layering, fractured light, and patterned interruption.

Visually, the paintings integrate recognizably referential forms—a sun, water, clouds, or foliage—yet refuse direct narration. Instead, motifs are filtered through processes of abstraction: marks that suggest tree limbs, patterns resembling ripples or geological strata, and modulated planes that oscillate between the suggestive and the indeterminate. This merging of observation with abstraction recalls modernist formalist investigations, yet it is animated by a contemporary sensibility attuned to the contingencies of vision and memory.

Mark-making is central. The artist exploits the physicality of oil, laying down and lifting up pigment to create visual rhythms and broken contours, avoiding the depiction of static form. This process aligns with the formalist interest in the autonomy of the medium—paint as both material and metaphor.