Geometries in the Current emerged through an extended, responsive process—one in which I moved continually toward and away from the surface, turning the work in multiple orientations as it developed. I do not begin with a fixed image or destination. Instead, I remain attentive to what the materials, gestures, and accumulated marks begin to suggest over time.

In this piece, sharp geometries surfaced gradually, pressing against and through more fluid passages of color and texture. Acute angles began to rise from layered blues and greens, suggesting structures or pylons emerging from an oceanic current, set against shifting landforms that at times read as mountains. Much of the composition extends beyond the edges of the support, reinforcing a sense of movement and instability—of forms redefining themselves rather than settling into fixed roles.

As the surface evolved, fish- and tadpole-like forms appeared within the currents, swimming toward and around these emerging structures. These images were neither planned nor illustrated; they emerged through repetition, erasure, and return. I worked across the surface through collage, scraping, layering, and drawing—allowing relationships between geometry and organic form to remain in flux.

What holds the work together is not my control of the composition, but my attention to it. I stay awake to the process—responding to surges of color, shifts in direction, and moments of resistance or release. Meaning arises through this ongoing exchange rather than through intention alone. Geometries in the Current reflect a state of becoming: where structure and flow coexist, and where perception is shaped by remaining mindful of the creative process, to the extent that the work shows what it needs to be.