‘In the Shallows’
Watercolor on paper 9x12”, June 2026
I created this piece as an abstract meditation on water and light, letting color and movement do most of the emotional work. The composition is layered with fluid washes of blue, teal, green, and violet, suggesting the shifting surface of a body of water seen from above. Rather than rendering a literal scene, I wanted to capture the feeling of looking into something alive and constantly changing.
The upper portion is softer and more diffuse, with pale blues and hints of lavender drifting across the surface like reflected sky or distant ripples. As the eye moves downward, the texture becomes more active and complex. Darker strokes and overlapping translucent shapes build a sense of depth, as if one is peering through the water rather than just at it. The brushwork feels loose and spontaneous, with edges that dissolve into one another, reinforcing the sense of motion and fluidity.
Near the bottom right, I introduced a cluster of more defined marks and warmer tones, including muted reds and browns, to interrupt the cool palette and create a focal point. This small area gives the image a subtle sense of structure amid the abstraction, almost like submerged material or a fragment of shoreline breaking through the water’s surface.
Overall, the work is meant to feel immersive, contemplative, and a little uncertain—like memory, reflection, or currents beneath the visible world.
‘In the Shallows’
Watercolor on paper 9x12”, June 2026
I created this piece as an abstract meditation on water and light, letting color and movement do most of the emotional work. The composition is layered with fluid washes of blue, teal, green, and violet, suggesting the shifting surface of a body of water seen from above. Rather than rendering a literal scene, I wanted to capture the feeling of looking into something alive and constantly changing.
The upper portion is softer and more diffuse, with pale blues and hints of lavender drifting across the surface like reflected sky or distant ripples. As the eye moves downward, the texture becomes more active and complex. Darker strokes and overlapping translucent shapes build a sense of depth, as if one is peering through the water rather than just at it. The brushwork feels loose and spontaneous, with edges that dissolve into one another, reinforcing the sense of motion and fluidity.
Near the bottom right, I introduced a cluster of more defined marks and warmer tones, including muted reds and browns, to interrupt the cool palette and create a focal point. This small area gives the image a subtle sense of structure amid the abstraction, almost like submerged material or a fragment of shoreline breaking through the water’s surface.
Overall, the work is meant to feel immersive, contemplative, and a little uncertain—like memory, reflection, or currents beneath the visible world.
