There is a yes that gets pulled from you under pressure, thin and obligatory, the word your mouth makes when the rest of you has already left the room.
And then there is the other kind. The one that rises from somewhere below thought, where every sense is suddenly in agreement and the whole body knows it before the mind has caught up. Power in the steps. Stability in the stance. Music in the voice. That yes has a shape. This painting is it.
The Shape of Yes was made the way a genuine yes arrives, not built from the bottom up but refined through response. Every mark in conversation with every mark that came before it, the composition emerging through a continuous process of question and answer rather than intention and execution. The grey field opens the canvas wide and cool. The blue in the lower left holds its ground as a separate, settled presence. The lower right accumulates into density, charcoal, deep red and ochre, the weight the painting stands on. And from that weight, the central column rises: red and yellow distinct from each other, moving upward in parallel, pink arriving last to weave between them, the three colours intertwining without merging, each one retaining its own voice inside the chord they make together.
The formal achievement of this painting is vertical momentum in a field that could easily have become chaotic. The scratched lines visible throughout the grey ground are the record of that refinement, marks made and reconsidered, the surface showing its own editing process. What remains is not what was planned. It is what survived every subsequent response.
The Shape of Yes appeared on the cover of Visual Art Journal, August 2025.
From the Wild collection, 2025.
From the artist's journal:
"There is a sense of alignment, of all of my senses beginning to dance together activating an energy of agreement. This is so vastly different from the times a yes is dragged from my lips. This is power in my steps, stability in my stance, music in my voice. Full bodied. Yes."
There is a yes that gets pulled from you under pressure, thin and obligatory, the word your mouth makes when the rest of you has already left the room.
And then there is the other kind. The one that rises from somewhere below thought, where every sense is suddenly in agreement and the whole body knows it before the mind has caught up. Power in the steps. Stability in the stance. Music in the voice. That yes has a shape. This painting is it.
The Shape of Yes was made the way a genuine yes arrives, not built from the bottom up but refined through response. Every mark in conversation with every mark that came before it, the composition emerging through a continuous process of question and answer rather than intention and execution. The grey field opens the canvas wide and cool. The blue in the lower left holds its ground as a separate, settled presence. The lower right accumulates into density, charcoal, deep red and ochre, the weight the painting stands on. And from that weight, the central column rises: red and yellow distinct from each other, moving upward in parallel, pink arriving last to weave between them, the three colours intertwining without merging, each one retaining its own voice inside the chord they make together.
The formal achievement of this painting is vertical momentum in a field that could easily have become chaotic. The scratched lines visible throughout the grey ground are the record of that refinement, marks made and reconsidered, the surface showing its own editing process. What remains is not what was planned. It is what survived every subsequent response.
The Shape of Yes appeared on the cover of Visual Art Journal, August 2025.
From the Wild collection, 2025.
From the artist's journal:
"There is a sense of alignment, of all of my senses beginning to dance together activating an energy of agreement. This is so vastly different from the times a yes is dragged from my lips. This is power in my steps, stability in my stance, music in my voice. Full bodied. Yes."
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