Earth · Observation · Impermanence

Set against an expansive cobalt blue ground, FIELD NOTES FROM THE INVISIBLE unfolds like a map of unseen systems — part biological study, part emotional landscape, part speculative archive.

Floating forms drift across the surface like microscopic organisms, cellular structures, marine life, constellations, or coded fragments of information. Gold linear markings suggest movement, direction, and connection, while clusters of dots and organic motifs evoke scientific diagrams, histological studies, and the fragile architectures found within nature itself.

Rather than presenting the body literally, the work reflects humanity’s ongoing attempt to understand what cannot be fully seen: memory, emotion, energy, decay, and transformation. The composition feels simultaneously analytical and intuitive — balancing observation with mystery.

Drawing from the melancholic temperament and the element of earth, the work meditates on impermanence and the quiet act of noticing. It asks what remains undocumented within us, and how much of human experience exists beyond language or measurement.

Through its restrained palette, spatial openness, and rhythmic symbolic forms, FIELD NOTES FROM THE INVISIBLEfunctions like a contemporary visual manuscript — one that sits between science, abstraction, and memory.

"Not everything the body carries can be named."

Aphelion

APHELION

The Self · Orbit · Release

2020 · Acrylic and Resin on Circular Canvas · 20" Diameter

The final work in CORPUS moves beyond the language of the body and into the idea of the self as something fluid, expansive, and constantly in motion.

Set within a circular format suggestive of a planet, a cell, a lens, or a Petri dish, APHELION captures an explosive convergence of colour and movement suspended against a dark atmospheric field. Streams of turquoise, gold, crimson, pearl, and deep green collide and disperse across the surface like cosmic matter, liquid memory, or emotional energy unfolding in real time.

Unlike the structured symbolism of the earlier works in the series, this composition resists containment. Resin preserves the painting in a state of perpetual transformation — as though a moment of becoming has been frozen mid-motion. The circular form further reinforces ideas of orbit, recurrence, and self-reflection.

Named after the point in a planet’s orbit farthest from the sun, APHELION reflects a state of distance and individuation: the moment one moves beyond inherited systems, emotional conditioning, and fixed identities to encounter the self more fully.

Here, the visual language of the entire series converges — not as fragmentation, but as integration.

Balancing fluid abstraction with material depth, the work functions simultaneously as a contemporary painting, an atmospheric object, and a meditation on transformation itself.

"After the body and mind are understood, what remains is simply the self in motion."