In Opuscula Archaeologica, canvases have been subjected to copious layers of paint - as if waiting for the archaeologist's hand to excavate and survey the original form or visual commentary that lies beneath. Residual contours and spontaneous markings of calligraphic ink amidst white and silver paint - abound in equal measure - interplay within a textural surface. At times gestural - and almost alluding to 'action painting' tropes - a balance between the colourations seemingly lifts the imagery beyond the canvas; synchronously inhibiting a gentle resistance of visual definition. Yet, a seemingly repetitive narrative emerges, as though rising from the ashen landscape (or primodial topography), where the rhythmic ink and paint stains collectively seek dominance.
To refer to the philosophical notion of supervenience (the dependence of one property or quality on another for its existence), the intensity of pigmentation amassed throughout the canvas, on the one hand, subjects the viewer to a multitude of visual intimations yet, on the other, reduces the clarity of a focal point. Thus, a chorus of variance and resemblance play on equal contextual terms, and become preserved within the alluded scenery of the work.