Awagami Work on Paper #1
25×31″ Awagami Paper, Procion MX Dyes, Watercolors, Acrylic Paints, Acrylic Inks, and Dry Media
Available – $2750 (Unframed)
This original work moves like pressure finding every weak place in the paper. Hot magenta floods the edges, not as decoration, but as an encroaching force. The pale blue center does not offer peace; it behaves more like exposed tissue, washed thin, stained, bruised, and interrupted by frantic lines. White forms slash through the composition like torn bone or emergency markings, while black circular shapes gather near the lower center with the bluntness of burns. Yellow wedges and red accents strike through the field in short, sharp bursts.
The crumpled surface matters. The paper holds memory in its creases, ridges, stains, and abrasions. Nothing here feels smoothed over. The painting insists on rupture, collision, and repair happening at the same time—an unstable surface where beauty is not allowed to behave politely.
Mixed media on Arches 300 lb. cold-pressed paper
Watercolor, India ink, Lightfast pencils, soft pastels, and Spectrafix
11 × 15 in.
Available — $750
A single eye holds the center of this work, not calmly, but under pressure. Around it, bright geometric fragments, spirals, circles, wedges, and looping black lines crowd the surface with restless force. The black marks do not simply outline the image; they bind it, interrupt it, slash through it, and keep the color from behaving decoratively.
The palette is charged and unruly: electric blue, acid green, hot pink, yellow, red, purple, orange, and pale flesh tones collide across the paper. The surface feels overloaded with signal, movement, memory, and refusal. Playfulness and alarm occupy the same space. The eye becomes witness, wound, and anchor inside a field that will not settle.
Mixed media on Arches 300 lb. cold-pressed paper
Watercolor, India ink, Lightfast pencils, soft pastels, and Spectrafix
22 × 30 in.
Available — $2,000
This work moves like a collision in progress. Diagonal bands cut across the paper with force, driving pink, yellow, blue, orange, green, purple, and black into a compressed field of pressure. The composition refuses a calm center. Instead, it tilts, fractures, stacks, and shoves its forms against one another until the whole surface feels caught mid-impact.
Black lines act like braces, wounds, borders, and restraints. They do not politely organize the color; they interrupt it. Circles, triangles, slashes, transparent washes, and dense pastel marks push through each other in competing directions. The white of the paper remains visible in places, but it does not feel empty. It feels exposed.
The piece carries the speed of drawing and the weight of construction at once. It is bright without being cheerful, playful without being gentle, and angular without becoming mechanical. Everything is under pressure, but nothing has collapsed.