What can be said at all can be said clearly; and whereof one cannot speak thereof one must be silent."

Preface to the Tractatus Logico-Philosophicus - Ludwig Wittgenstein

The boundary the philosopher sought to draw, creates a paradox for the writer attempting to describe that which already lies orthogonal to language. After viewing this series of works, the musical paradigm of sonata form came to mind whereby ideas are presented, then shifted, modulated, reinforced and resolved.

Part I is almost scented with a deep peach centre. Paint varies in thickness and contour with the stick and charcoal employed to create a tumble of thoughts but none claim exclusivity. The canvas is left exposed in places but despite that enclaves of dark green and mustard are denied unification as various coalitions vie for position. Three small red flames burn as if in vigil. An overgrown orchard coming to fruiting season.

Part II evaporates to a gaseous state. The palette simplifies to primarily blues and white and the organism divides into two. With fewer components there is a greater sense of depth and form. The particular application of the thinner strokes creates a sense of suspension within an ether. The velocity is greater as vortexes fluctuate.

Part III condenses and surges into liquid. The blue hues shift and are relegated to the borders whilst lilacs and and deep purple clash on coastal rocks. As in the previous works, white finds its radiant centre. There is a greater sense of chromatic dominance, control and field depth.

Across all three paintings there is an irregularity of shapes that crafted together create portraits of rough-hewn electrical energy.

Seen at Matt Carey-Williams, London on 09 Oct 2025 as part of a group exhibition.