Lunar Black Studies
Every painting begins with an image.
Not every painting ends with one.
This study marks the beginning of an ongoing exploration of Lunar Black, a pigment whose behaviour constantly resists prediction.
Rather than describing the sky, I wanted to observe what happens when water, pigment and paper negotiate their own balance.
The motif became increasingly irrelevant.
What remained was movement, sedimentation and time.
The painting is less a depiction of the sky than a record of the material discovering its own form.
Study No. 01 – The Sky
The motif is only a point of departure. What interests me is the behaviour of the material itself—how pigment, water and paper create an image beyond representation.
Study No. 02 — Rural Imaginary
Make it stand out
The second study moved further away from observation.
The landscape still exists, but only as a distant memory.
Dark masses emerge through repeated washes of Lunar Black, while the remaining whites become as important as the pigment itself.
Looking at the finished painting, I was reminded of Anselm Kiefer—not because I intended to quote his work, but because certain materials seem to carry similar emotional weight.
The painting eventually became something else.
A dialogue between contemporary watercolour and the rural landscapes that have shaped my own visual memory.
The motif was only the beginning.
The material completed the journey.
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