Before Spring
#1
Oil on paper
50 x 70 cm / 19” x 27”
2017
#2
Oil on paper
50 x 70 cm / 19” x 27”
2017
#3
Oil on paper
50 x 70 cm / 19” x 27”
2017
Log
Oil on canvas
30 x 40 cm / 11” x 15”
2017
Roots
Oil on canvas
30 x 40 cm / 11” x 15”
2017
Aren’t we all not so beautifully damaged?
Oil on canvas
30 x 40 cm / 11” x 15”
2017
#7
Oil on canvas
40 x 50 cm / 15” x 19”
2017
#8
Oil on canvas
40 x 50 cm / 15” x 19”
2017
#9
Oil on canvas
30 x 40 cm / 11” x 15”
2017
#10
Oil on canvas
40 x 50 cm / 15” x 19”
2017
#11
Oil on canvas
40 x 50 cm / 15” x 19”
2017
#12
Oil on canvas
40 x 50 cm / 15” x 19”
2017
Gold
Oil on canvas
30 x 40 cm / 11” x 15”
2017
#13
Oil on canvas
30 x 40 cm / 11” x 15”
2017
#14
Oil on paper
48 x 64 cm / 19” x 25”
2017
Before Spring captures the threshold where dissolution and emergence coexist — a space of possibility that isn’t yet blossoming but also no longer frozen. During a winter residency in Dordrecht in 2017, I entered a period of immersion in painting, where the quiet external landscape became a mirror for an inward unfolding. Winter became a moment of release, retrieval, and returning to essential forces.
Rather than documenting a season, these works explore the dynamic tension of transition: the residue of what was, the instability of what is not yet, and the subtle pressures of what may arise. Paint is poured, stretched, dissolved, and layered — sometimes bearing the lightness of watercolor, sometimes the texture and resistance of oil — creating gestures that record duration, movement, and hesitation.
This series does not illustrate spring; it traces the indeterminate moment before it — where color and texture rise from the background, where gesture becomes a way of attuning to inner and outer landscapes, and where abstraction itself becomes a site of transformation.
Studio and city views.
Rather than documenting a season, these works explore the dynamic tension of transition: the residue of what was, the instability of what is not yet, and the subtle pressures of what may arise. Paint is poured, stretched, dissolved, and layered — sometimes bearing the lightness of watercolor, sometimes the texture and resistance of oil — creating gestures that record duration, movement, and hesitation.
This series does not illustrate spring; it traces the indeterminate moment before it — where color and texture rise from the background, where gesture becomes a way of attuning to inner and outer landscapes, and where abstraction itself becomes a site of transformation.
Studio and city views.
