In Short
A series of oil paintings exploring the body as a site of memory. Through fragments, gestures, and restrained palettes, colour becomes residue — a trace of lived experience held beneath the surface.
On Touch and Afterimage
In The Body Remembers Colour, the human figure does not arrive whole. It emerges in fragments — a resting arm, a turned back, a hand suspended mid-gesture. The body appears as something sensed before it is seen.
These paintings resist portraiture. They dwell instead in intervals: the breath before touch, the warmth gathered beneath skin, the quiet tension of two presences leaning toward each other without closing the distance.
Colour is not applied as description but as memory. It seeps, presses, settles — like heat held long after contact. Soft violets, muted pinks, and bruised greys move across the surface as traces of what has passed through the body and remained there.
In this series, memory is not narrative — it is physical. The body does not store events in sequence; it carries them as weight, as temperature, as subtle shifts of light.
Each canvas becomes a skin-like surface where experience resurfaces —not as story, but as tone, pulse, and proximity.
