Sometimes a startled resurfacing from deep sleep leaves one momentarily unsure as to who or what one is. This painting lives in that moment.

Here is a congregation of unsentimental walls. Aged in sepia and finished in chocolate. Inhabited but never lived in. Fungible save for the complimentary Art Deco dining. Now abluted and neatly abandoned.

A fanatic light strikes the main room, burnishing it strategically. A glass on the left of the table is almost imperceptible amidst the iridescent bloom. The two ancillary rooms are declined access to the enlightenment. The perspectival liberties taken heighten the notion of a fallible recollection.

Waves writhe with a reptilian coarseness disregarding the gradient. The surging current is wrought more powerful by the tiny depth of the splintered mirror garden.

The Constrainment of Water

When questioned on cinematic influence, the artist volunteered Hitchcock and the pensiveness he achieved. What came to my mind were the words of Andrei Tarkovsky:

I love the Japanese attitude to nature.
They concentrate on a confined space reflecting the infinite.
Water is a mysterious element due to its monocular structure.
And it is very cinegenic; it transmits movement, depth, changes.
Nothing is more beautiful than water.

Seen at RCA London on 20 June 2026. Part of the MFA show.