There is a particular frustration in wanting more while being unable to see past the place where you are standing. The cycles repeat. The view stays partial. And somewhere beneath the fog of it you are being asked to trust that what you cannot see is still being arranged, that the plan exists even when you cannot access it, that the wisdom of the universe does not require your full understanding to keep working.
That ask is not easy. This painting does not pretend it is.
Obstructed View holds the experience of being stuck inside a limited perspective while knowing something larger is at work beyond it. The grey-white field dominates the canvas, thinly applied with the canvas texture showing through, less a solid surface than a veil. Beneath it, yellow surfaces from an earlier layer, partially buried, visible where the grey thins but never fully recoverable. Orange arrives on top of everything, applied over the veil rather than beneath it, the one colour that refuses to be obscured. The navy and cobalt blue mass in the left centre is the most heavily worked area of the surface, dense and weighted, the place where the obstruction is most physical. Large looping strokes of warm sand move through the upper field, gestures too large to be contained by what surrounds them.
The surface records three distinct moments: something buried, something veiled, something that keeps insisting on being seen regardless. The painting does not resolve the obstruction. It holds it honestly, which is the only thing trust actually requires.
From the Wild collection, 2024. Featured in Visual Art Journal, and on AATONU.
From the artist's journal:
"Trust is believing that as I sit in this moment, everything is being arranged for me. I cannot see the entire plan from this place. I cannot know all that I need to move forward. I do not hold the wisdom of the universe."
There is a particular frustration in wanting more while being unable to see past the place where you are standing. The cycles repeat. The view stays partial. And somewhere beneath the fog of it you are being asked to trust that what you cannot see is still being arranged, that the plan exists even when you cannot access it, that the wisdom of the universe does not require your full understanding to keep working.
That ask is not easy. This painting does not pretend it is.
Obstructed View holds the experience of being stuck inside a limited perspective while knowing something larger is at work beyond it. The grey-white field dominates the canvas, thinly applied with the canvas texture showing through, less a solid surface than a veil. Beneath it, yellow surfaces from an earlier layer, partially buried, visible where the grey thins but never fully recoverable. Orange arrives on top of everything, applied over the veil rather than beneath it, the one colour that refuses to be obscured. The navy and cobalt blue mass in the left centre is the most heavily worked area of the surface, dense and weighted, the place where the obstruction is most physical. Large looping strokes of warm sand move through the upper field, gestures too large to be contained by what surrounds them.
The surface records three distinct moments: something buried, something veiled, something that keeps insisting on being seen regardless. The painting does not resolve the obstruction. It holds it honestly, which is the only thing trust actually requires.
From the Wild collection, 2024. Featured in Visual Art Journal, and on AATONU.
From the artist's journal:
"Trust is believing that as I sit in this moment, everything is being arranged for me. I cannot see the entire plan from this place. I cannot know all that I need to move forward. I do not hold the wisdom of the universe."
