Yellow
A yellow event expands into form and light. With no separate sign to recognise, colour itself organises the sequence.
Work 117 · 2024
At first, yellow appears as a small spot in an almost empty white space, an almost accidental trace, a blot. It is not quite an object and not quite a sign, but rather the first event on the plane: a point from which movement may begin.
Work 118 · 2024
In the next work, the spot expands into a blurred vertical figure. It can be seen in its entirety from a certain distance, although its outlines remain blurred: the form has already emerged but has not yet separated completely from the surrounding space.
Work 119 · 2024
Now ochre occupies almost the entire plane, leaving only brushstrokes, irregularities and margins to see. The object has grown and the viewing distance has collapsed. As colour expands, it becomes light: first a spot, then a vertical glow, finally the whole visible space—sun, morning, a state in which everything remains possible.
Work 120 · 2024
The fourth work interrupts the expansion of form-colour. Yellow is compressed into a narrow vertical column, with dark bands to the right and left, like curtains closing in. The light has not yet gone anywhere, but it is already being shut out. The growth that proceeded from a spot to an entire plane ends in eclipse.
| Work | 117 | 118 | 119 | 120 |
|---|---|---|---|---|
| Colour coverage | 1 | 2 | 3 | 2 |
| Sign visibility | 0 | 0 | 0 | 0 |
| Sign specificity | 0 | 0 | 0 | 0 |
| Verbalisation | 0 | 0 | 0 | 0 |
Red
Red lies between the sign and the viewer. Meaning intensifies as the image becomes harder to see.
Work 121 · 2024
An oblique black figure on the almost bare panel resembles a critical structural defect. There is very little red: the catastrophe has not yet happened, but it is already perceptible and inevitable.
Work 122 · 2024
Heavy black clouds hang above damaged earth while vertical red streaks cross the image like bloody or acid rain. The landscape becomes a sign of pollution, war and something that should never have happened.
Work 123 · 2024
A mountain should signify stability and endurance, but here it is broken and surrounded by heavy clouds. The red veil covers it, yet its outline still breaks through; no later sign in the series will remain as distinct.
Work 124 · 2024
The image of a beautiful flower is almost entirely obscured by black and red. The rose must be guessed at: red does not animate the form but participates in its destruction.
Work 125 · 2024
A vertical sign combines a spear and an eye and refers to Odin. Pain and sacrifice acquire another possibility: suffering may lead to knowledge or to the new—the series’ first attempt at escape.
Work 126 · 2024
The next spear is Gáe Bulg, with which Cú Chulainn killed his unrecognised son. One spear stands against another: meaningful sacrifice against meaningless sacrifice, closing the first attempt at escape.
Work 127 · 2024
Haystacks or triangular roofs stand inside a red field. Without naming a place, the image becomes a general sign of a destroyed native space that people are forced to leave.
Work 128 · 2024
The black ring can be read as the Ouroboros, the serpent devouring its tail. Within the series it is a closed cycle: violence reproduces itself, and one destruction becomes the beginning of the next.
Work 129 · 2024
The crown denotes not one ruler but power itself and its desire to continue indefinitely. The cycle of suffering receives not only a mythological explanation but also a human one.
Work 130 · 2024
The black band can be read as a dark forest at the boundary of the familiar world. Beyond it lies the other: feared and distrusted, but also home to fairy tales and miracles. The series’ second attempt at escape asks whether we can learn to trust what lies beyond that boundary.
Work 132 · 2024
The finale is a landscape without a sign. Only a narrow olive-gold strip remains at the edge; hope has almost disappeared, and the second attempt at escape closes in the desolation of scorched earth.
| Work | 121 | 122 | 123 | 124 | 125 | 126 | 127 | 128 | 129 | 130 | 132 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| Colour coverage | 1 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 |
| Sign visibility | 3 | 2 | 2 | 1 | 2 | 2 | 2 | 2 | 2 | 2 | 0 |
| Sign specificity | 2 | 2 | 2 | 2 | 3 | 3 | 1 | 3 | 3 | 2 | 0 |
| Verbalisation | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
Grey
Grey turns from veil into environment. The signs are visible again, but their meanings become unstable.
Work 133 · 2025
At first this is a safe, perfectly arranged abstraction. Seen again after the rest of the series, its correctness becomes suspicious: a false answer or false god must look exactly as the genuine one is supposed to look.
Work 135 · 2025
Houses and a street evoke a small homeland, the kind of place people leave. Only one window is lit; the town is dying, and it is dying quietly.
Work 136 · 2025
A station implies arrivals, departures and meetings, yet there are neither trains nor people. Only the moon remains as a silent witness.
Work 137 · 2025
The structure resists identification. It may be the windows of an apartment block or the imprint of tank tracks: the same form can signify both housing and that which destroys housing.
Work 138 · 2025
The church stands in the grey emptiness of the dying town. Should it not reconcile nations through forgiveness and love? Its yellow dome gives reflected, moonlike light rather than the warm inner light of a home. Perhaps the church too is dying.
Work 140 · 2025
The light has lost its identifying features. So much grey surrounds it that day and night can no longer be distinguished; even light loses its meaning.
Work 141 · 2025
Even the moon has blurred and faded. There is no longer a separate sign and no one left to question—only the grey environment and the question: what happens next?
| Work | 133 | 135 | 136 | 137 | 138 | 140 | 141 |
|---|---|---|---|---|---|---|---|
| Colour coverage | 1 | 1 | 1 | 0 | 1 | 1 | 0 |
| Sign visibility | 3 | 3 | 3 | 3 | 3 | 3 | 0 |
| Sign specificity | 1 | 2 | 2 | 1 | 2 | 1 | 0 |
| Verbalisation | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
White
White becomes a background for figures, titles and written words. The sign becomes direct speech without becoming unambiguous.
Work 142 · 2026
Sköll has caught and swallowed the Sun, as he does at Ragnarök, and has already “released” it—perhaps more than once. The preceding catastrophes are therefore not stages of one ending but standard properties of a world repeatedly digested.
Work 143 · 2026
The black grid may be a façade, tyre tread or battery; its diagonals almost form a letter. Yet the first series with speech says nothing here. This is its only untitled, wordless work: beneath the white paint there was once a scientific graph. The language changed; the grid remained.
Work 144 · 2026
Cosmic history contracts into private anger: a loud, drunk, aggressive inhabitant who damages cars and writes pseudoscientific papers. The caricature is painted over a graph in a town proud of science and reason.
Work 145 · 2026
A plant, circuit, antenna and technical drawing at once: perhaps a flower of the future electric world. If even a weed is replaced, what disappears is the last thing that grew and reproduced by itself.
Work 146 · 2026
Around the fuel nozzle are written superessence, puissance and à la pompe. Essence means both petrol and essence; puissance means power, pressure and might. Supreme essence and great power are dispensed by the litre, run out in long queues, and end in two falling drops.
| Work | 142 | 143 | 144 | 145 | 146 |
|---|---|---|---|---|---|
| Colour coverage | 1 | 0 | 0 | 0 | 0 |
| Sign visibility | 3 | 3 | 3 | 3 | 3 |
| Sign specificity | 3 | 1 | 3 | 2 | 3 |
| Verbalisation | 3 | 0 | 2 | 1 | 3 |
Full analysis
The four mini-tables now join into a single view. Changes in colour, sign and language become visible across the complete sequence.
| Work | Yellow | Red | Grey | White | |||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 117 | 118 | 119 | 120 | 121 | 122 | 123 | 124 | 125 | 126 | 127 | 128 | 129 | 130 | 132 | 133 | 135 | 136 | 137 | 138 | 140 | 141 | 142 | 143 | 144 | 145 | 146 | |
| Colour coverage | 1 | 2 | 3 | 2 | 1 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 1 | 1 | 1 | 0 | 1 | 1 | 0 | 1 | 0 | 0 | 0 | 0 |
| Sign visibility | 0 | 0 | 0 | 0 | 3 | 2 | 2 | 1 | 2 | 2 | 2 | 2 | 2 | 2 | 0 | 3 | 3 | 3 | 3 | 3 | 3 | 0 | 3 | 3 | 3 | 3 | 3 |
| Sign specificity | 0 | 0 | 0 | 0 | 2 | 2 | 2 | 2 | 3 | 3 | 1 | 3 | 3 | 2 | 0 | 1 | 2 | 2 | 1 | 2 | 1 | 0 | 3 | 1 | 3 | 2 | 3 |
| Verbalisation | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 2 | 1 | 3 |
Authorial coding on a scale from 0 to 3.
Four series · four transitions
Interaction Before these four series, the sign was an independent motif. For colour to become the subject, it disappears in Yellow.
Interaction Colour covers the sign; maximum meaning coincides with minimum visibility.
Interaction The sign is no longer obscured, but its meaning becomes unstable.
Interaction Colour becomes the surface on which the sign speaks.
Point of convergence
They meet on the painting’s surface. Colour, once light and environment within the image, becomes its background. The sign, once a symbol occupying the whole painting, becomes a word written upon that background.
Yellow reaches the limit of colour’s growth; Red and Grey end when the sign disappears; White remains open because direct speech has not yet been exhausted.
From myth and oracle, through the ordinary and uncertain thing, to direct human expression.
This is a way of organising the material, not an exhaustive interpretation of the works.
Paintings become data, data become an argument, and the argument becomes an artwork.