Acrylic on canvas, 84 x 54 in (213 x 137 cm), 2020
Contentment Study I began with circles—simple, “happy” shapes repeated at an almost unreasonable scale. Painted during the first pandemic lockdowns, the forms gradually became less innocent: peony buds, cells, bodily openings, sealed spaces. Cracks appeared inside them, traced with lines that recall kintsugi, allowing damage to remain visible rather than disappear.
The painting became a study in whether contentment could be made through attention and repetition: not happiness as a fixed state, but something practiced while uncertainty, isolation, bodily change and mortality remained stubbornly present.
Acrylic on canvas, 84 x 54 in (213 x 137 cm), 2020
Contentment Study I began with circles—simple, “happy” shapes repeated at an almost unreasonable scale. Painted during the first pandemic lockdowns, the forms gradually became less innocent: peony buds, cells, bodily openings, sealed spaces. Cracks appeared inside them, traced with lines that recall kintsugi, allowing damage to remain visible rather than disappear.
The painting became a study in whether contentment could be made through attention and repetition: not happiness as a fixed state, but something practiced while uncertainty, isolation, bodily change and mortality remained stubbornly present.
