2016–2018

“Back in my childhood, TV had only three channels, broadcasting until 11-something p.m. Being a night owl, I was used to seeing the TV station showing static after the program was over. I remember occasionally refraining from turning it off and trying to find forms, figures and other things I could not put a name on at the time. Decades later, I found out about abstract art…”

This collection returns to the classic aim of abstract art, translating mood and emotion into image, but it filters that tradition through a generation raised on technology and pop culture, where imagination is trained by screens as much as it is by dreams. What began as a childhood game of finding meaning in signal loss becomes a practice of daydreaming with intention, using non representational color and form as a doorway into memory, desire, and the subconscious.

Guided by ideas from Freud’s free association and the emotional architectures of artists like Rothko and Newman, the works explore how we project ourselves onto what refuses to explain itself. They also shrink abstraction down from its cathedral scale into something closer and more intimate: small windows of contemplation that ask for deliberate attention. In an era built around six inch displays, these pieces feel less like monuments and more like personal screens, tuned to inner weather.

The collection comprises 16 mixed media paintings on wood, expanded into decals, environmental art, and a video installation, treating the gallery as a signal field rather than a neutral room. Within my broader practice, it sits as a deliberate detour. After years rooted in street art and the sharper languages of stencil and pop across collections like Memento, Credo, and POP, this body of work shifts from declaration to drift, keeping the Nightwatcher’s pulse while letting the image breathe in a quieter, stranger frequency.