Structure & Surface
This period or evolution in style grew out of both instinct and reaction. After the more exposed inner dialogue of earlier work, I became interested in a different kind of language, less confessional, more structural. At the same time, my professional design work was exerting a much stronger influence on the art. I moved back and forth between painting and digital work, exploring geometry, texture, repetition, found tools, and more controlled surfaces. What emerged was less about expression alone and more about building order, tension, and rhythm through form.
Hive
Acrylic & pastels on canvas, 36x48”
In this piece, I used a milk crate and industrial grid frames to establish a geometry with rules, but only loosely followed them. What interested me was not precision for its own sake, but the tension between system and drift, a kind of architectural structure and weathering. I’d experiment with these themes in many paintings of this period.
Suzukigo
Digital composition
Created alongside the paintings from this period, this piece reflects the same movement toward geometry, repetition, and formal balance. In the digital medium, those ideas became more fluid and precise, giving the work a different kind of clarity without losing its sense of energy.
Magnet
Acrylic on canvas
With this piece, I was working toward a stronger graphic form without giving up the weathered surface and tactile irregularities that still felt essential. It reflects a point where the work was becoming more controlled, but not yet detached from the roughness that gave it life.
Fizz
Acrylic on canvas
This painting came near the end of the period, when I was starting to bring more energy and looseness back into the work. I used found tools, including wine corks, to stamp and build the surface, letting repetition, accident, and texture carry more of the composition. What interested me here was not polish, but a more physical and instinctive kind of rhythm. The piece was commissioned by a client who wanted something festive and energetic, and this felt like a natural place for it to land.
Magma Three
Acrylic on canvas
I wanted to lean into more dynamic color and heavier texture here, almost pushing the surface toward sculpture. The painting became densely layered and weathered, somewhere between volcanic force and graphic abstraction. It sits in that space between structure and atmosphere.
Additional selected paintings