This series of small abstract works marks an intentional pivot toward a quieter, more distilled visual language within my practice. While abstraction has long been an undercurrent in my work, these pieces function as focused studies—experiments in form, rhythm, and restraint. Stripped of overt iconography and narrative references, they lean into the materiality of laser-cut acrylic and the tensions created through industrial hardware and layered color. These works are not departures but extensions—exploring how abstraction can hold emotional weight, cultural residue, and spatial complexity even in the absence of easily legible symbols. In a moment defined by noise and acceleration, this body of work explores stillness, nuance, and the poetics of reduction.

In Untitled (Tennis), the geometry is deceptively simple—an angular, turquoise field interrupted by a central oval that hovers like a racket, a court, or a gesture mid-swing. The title hints at the sport without explicitly depicting it, allowing the piece to oscillate between abstraction and recognition. The hardware becomes a kind of punctuation, its rhythm echoing the bounce of movement or the tension of a net stretched taut. By drawing from the visual language of sport—especially one so historically loaded with questions of access, class, and representation—the piece situates play, precision, and confrontation within the sculptural field. It’s a cool, self-contained object, but alive with latent motion.