This time, the focus turned to the interaction between mixed media—graphite, charcoal, watercolour primer, pigment, watercolour, gouache, and water-based crayon—and the surface of the paper. What sets this apart is the role of mark-making: its intention becomes central in orchestrating the composition.

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Despite the shift in materials, the exploration of spatial relationships continues to serve as a unifying thread. ​

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The works investigate spatial relationships and the coexistence of disparity and dissonance. Like many, I’ve felt the turbulence of recent years—a time of unrest and suffering, amplified by the ubiquitous reach of technology, where parallel lives feel both tangible and surreal. Alongside this, a pervasive sense of helplessness lingers, leaving us suspended in a situation without clear beginning or end. These themes reverberate throughout the works, with the titles offering insight into these abstract reflections.

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This body of work began as an artist’s book—an exploration of a shared world. Each page features a distinct abstract composition, resolved with specific intent. Some pages are cut horizontally at random points; others are folded vertically. As the book is leafed through, new compositions emerge through the juxtaposition of adjacent images. These visual collisions, combining the intentional with the non-intentional, give rise to new compositions.  The element of the unknown sustains my curiosity in this process.  There are no ‘good’ or ‘bad’ compositions, only more compositions to work with.  Some have been reimagined as paintings on Arches paper.  The phrase that surfaces in my consciousness is 'parallel collisions'.