Okto Laala Mosch
Oil and acrylic on canvas, 2021
Okto Laala Mosch unfolds like an encounter between organic memory and alien architecture. The composition is anchored in earthy, liquid browns and greens—textures reminiscent of sediment, growth, and slow geological time—over which two vivid, sky-blue forms hover. These shapes could be vessels, gateways, or organisms; they act as markers of arrival and departure in a terrain that feels at once ancient and futuristic.
The work inhabits an “in-between” zone, where painterly accidents become intentional pathways. Fluid stains and splatters recall processes of erosion, fermentation, or underwater bloom, while the blue arcs and contours read as engineered constructs—structures that might facilitate travel between different realities.
In my practice, such juxtapositions are invitations: to perceive the visible as just the surface of an intricate network of forces and beings. The title Okto Laala Mosch belongs to my series of invented linguistic triads, words that carry no direct translation but function like frequencies—sonic keys to a parallel perceptual field. In this space, octopus-like intelligence and human exploration merge, sharing knowledge through resonance rather than language.
For the exhibition, Okto Laala Mosch resonates with my broader body of work by blurring the boundaries between matter and metaphor. It asks the viewer to imagine not only what these forms are, but what they might become in the ongoing dance of transformation.