Works

A new body of work is taking shape in the studio — a continuation, and perhaps a deepening, of the language explored in Maitri. Where Maitri moved with soft, undulating contours, these paintings push the surface further: a more physical, hand-driven mark, denser fields of colour, a more architectural sense of weight. They are painted almost entirely with the hands — paint pressed, dragged and gathered directly into the weave of the linen. Built up, scraped back, and built again, they settle into harmony only after the unexpected combinations have been allowed to meet.

Maitri takes its title from the Sanskrit term for loving-kindness — an active attitude of warmth, empathy and non-harm toward oneself and others. The paintings extend this temperament into form: soft, undulating, slippery shapes that nestle together, never agitated, never frantic. Made on the floor, often several at once, with oil paint applied through hands, sponges and large brushes — a process that is physical, direct and responsive, balancing accident and intent. A quiet counterforce to the unrest and hardships of the world.

Dalmatin gathers a body of intuitive, playful paintings — works that arrived quickly, made in the company of others, and carry the warmth of being together. The series leans into spontaneity and chromatic generosity, allowing form to follow feeling rather than plan.

Presence builds outward from a single point — soft concentric rings of colour, hypnotic compositions that pulse and radiate. The series sits in conversation with Jasper Johns, Kenneth Noland and Ugo Rondinone, but turns inward, asking the viewer to slow down and stay with the surface long enough for it to breathe.

Fri Hand returns the hand to the centre of the work — direct, spontaneous, unguarded. Paint is applied without intermediaries; the body becomes the instrument, and the surface records every gesture as it happens.

An early body of large squeegee-built canvases made in admiration of Gerhard Richter — chance set in motion, then allowed to resolve. These works caught the attention of the Pulitzer Prize-winning art critic Jerry Saltz in 2016 and remain a foundation for the painter's later, more chromatic practice.