Blue surfaces from within black, not applied beside it but emerging through it — depth becoming visible rather than added. The gesture holds the same structure as before: trace, repetition, marks that build rather than illustrate. What changes is what the black is willing to reveal.

Dark waters

Black dominates almost entirely, the gesture loose and unresisted — no grid, no repetition holding it back. Umber appears only barely, a trace rather than a presence. What remains is mostly weight and movement, black built directly from the hand.

Terracotta

Umber and black move together in strokes that stay organic, resisting the grid. What forms carries a suggestion of structure, of language — a shape that gestures toward meaning without settling into it.

Umber leads throughout, built up in layers across the surface. The marks settle into repeated, near-geometric shapes — lines that stack and align rather than gesture freely. Black runs through the composition, holding it together rather than framing it.

Twrracotta

Black on black, built in layers. Repetition pushes the marks toward a grid, though the structure stays loose, never fully geometric. Umber shows only at the edges, where the black breaks — the last visible trace of the ground beneath.

Umber and brown fields anchor this piece — earth tones held under black, settling like something already returning to ground. The gestures accumulate into structure: edges align, marks stack and lean until an almost architectural form emerges — not drawn, but built through repetition, the way a wall rises course by course.

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Vladimir Svorcan

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