36 x 48 in
Acrylic on canvas
Rendered in a restrained, nearly monochromatic palette, the horse appears both defined and dissolving, its form emerging through subtle tonal shifts rather than fixed contours. A strand of pearls moves across its body and into the surrounding space, breaking apart into suspended fragments that drift rather than connect.
Where its counterpart is dense and contained, this work moves toward release. The structure loosens, as if what was once held in tension begins to disperse into air and space. The body no longer gathers inward — it allows fragmentation, softness, and separation.
The pearls act as delicate counterpoints: once symbols of continuity and cohesion, they now appear fractured, suspended between presence and disappearance. Their movement suggests not ornament, but transformation — a slow unraveling of form into atmosphere.
Within the tradition of vanitas, this becomes a reflection on impermanence not as loss, but as process. What dissolves is not erased — it simply changes state.
In relation to Moments of Eternity, the diptych constructs a dialogue between holding and releasing, compression and dispersion, control and dissolution — where eternity is not fixed, but composed of fleeting, suspended moments.
"Moments of Eternity II"
36 x 48 in
Acrylic on canvasRendered in a restrained, nearly monochromatic palette, the horse appears both defined and dissolving, its form emerging through subtle tonal shifts rather than fixed contours. A strand of pearls moves across its body and into the surrounding space, breaking apart into suspended fragments that drift rather than connect.
Where its counterpart is dense and contained, this work moves toward release. The structure loosens, as if what was once held in tension begins to disperse into air and space. The body no longer gathers inward — it allows fragmentation, softness, and separation.
The pearls act as delicate counterpoints: once symbols of continuity and cohesion, they now appear fractured, suspended between presence and disappearance. Their movement suggests not ornament, but transformation — a slow unraveling of form into atmosphere.
Within the tradition of vanitas, this becomes a reflection on impermanence not as loss, but as process. What dissolves is not erased — it simply changes state.
In relation to Moments of Eternity, the diptych constructs a dialogue between holding and releasing, compression and dispersion, control and dissolution — where eternity is not fixed, but composed of fleeting, suspended moments.