The paintings translate landscape memory, surface, gesture and structural movement into autonomous visual systems.
In the paintings, the system-analytical core of the work appears as material surface. Fields, movements and traces are no longer documentary evidence but painterly structures.
The works connect painterly autonomy with the logic of protocols and perception: something accumulates, overlays itself, becomes dense and readable as a field.
They give the practice a collectible and exhibition-ready body of work that stands in direct relation to the installations and paper works.
