Central to these pieces is the deliberate play between dimensions: a single composition might simultaneously evoke the flat abstraction of a map or plan view and the immersive depth of a three-dimensional landscape. A golden path might stretch forward in dramatic foreshortening while the surrounding fields flatten into rhythmic bands of yellow, orange, and green; trees burst with improbable reds, purples, and yellows that defy natural light, yet convey an inner vitality.

This duality creates a dynamic tension, encouraging the eye to oscillate between surface pattern and spatial illusion, much like the mind navigating memory and reality. Colour is not descriptive here but expressive and structural. I draw heavily from the Fauvist tradition—les Fauves, the “wild beasts”—particularly André Derain’s fearless contrasts and Henri Matisse’s mastery of pure hue.

Like Derain’s landscapes, where skies blaze in violet and water ignites in orange-pink, I employ saturated, non-naturalistic palettes to evoke energy, emotion, and atmosphere rather than literal transcription. Complementary clashes—vibrant blues against searing yellows, deep greens offset by fiery reds—generate visual intensity and a sense of joyful disruption, echoing the Fauves’ rejection of muted tonality in favor of raw, liberated colour as a vehicle for feeling.Matisse’s later cut-outs provide another key reference, especially in my riverine and undulating forms. His technique of “drawing with scissors” and composing with boldly shaped, flat colour planes inspires the collage-like elements in some works—most notably the graffiti-tagged sides of train carriages or layered borders that frame the central vista like theatrical curtains.

These interventions introduce texture and urban grit, contrasting the organic flow of landscapes with the raw, layered immediacy of street art. The cut-out influence manifests in simplified, organic shapes—wavy rivers that coil like living entities, hills reduced to rhythmic waves—allowing colour and form to exist autonomously, unbound by realistic modeling.Recurring motifs weave through the series: deep, meandering rivers that carve through the canvas like veins of memory; expansive horizons punctuated by distant city silhouettes; bridges and paths that draw the viewer inward, suggesting journeys both literal and metaphorical; and graffiti as a modern palimpsest, overlaying natural scenes with human mark-making and rebellion.

These elements reflect my ongoing fascination with the intersection of nature and culture, the rural and the industrial, the timeless and the ephemeral. Ultimately, these paintings aim to evoke a sense of wonder and disorientation—a celebration of the world’s multiplicity through distortion and exuberance. By flattening space while suggesting depth, by unleashing colour beyond nature’s limits, I seek to mirror the subjective experience of place: how a landscape can feel simultaneously familiar and alien, inviting yet elusive. The works are invitations to linger, to let the eye wander and the emotions stir, rediscovering the wild joy in seeing anew.

This exhibition represents an evolution in my practice, where historical echoes meet contemporary impulses.

Through these bold, abstracted landscapes, I hope to share a vision that is unapologetically alive—vibrant, contradictory, and deeply felt.”