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.

Untitled (Tiger) builds tension through palette and posture—warm tones of rust, clay, and blush stack and snap like layers of fur, heat, or terrain. The jagged lower edge and subtle zigzag motif nod to claws, stripes, or a pounce paused in midair. A translucent wedge cuts across the surface like a fang or flash of motion, lending the work a kind of directional force. Despite its modest scale, the piece holds a coiled energy—suggesting power not yet unleashed. The title teases at the animal without fully depicting it, allowing the abstraction to function more like a presence or stance than a literal image. This is not a portrait of a tiger—it’s the feeling of one.