Untitled n°115

Within the same series as its companion piece, this work shifts the register toward a more contemplative range. Cooler grays and silvers articulate the upper portion, while warm pinks, ochres and earthy tones move through the lower half, anchored by deeper blues at the margins.

The pictorial method remains constant: continuous overlapping gestures that prevent any single color or shape from asserting itself. The surface is conceived as a field of transitions rather than a configuration of forms.

The painting asks for time. Its function is not to be read, but to be inhabited — for as long as the gaze is willing to slow down.