The module is a starting point — repeated, stretched, interlocked — it becomes the basic unit through which a painting is built. Colour works within that structure through chromatic harmonies or deliberate contrasts, sometimes in quiet equilibrium, sometimes generating optical vibration.

Merging Modules takes its inspiration from images from the technological world, though no trace of that origin remains in the finished works. The module here has flexibility — it stretches horizontally or vertically as the composition demands. What matters most is what happens at the modular edges: where adjacent modules share the same colour, boundaries disappear, and the painting settles into a cohesive whole.

Modular Chains is built around a fixed unit — one wider element flanked by two thinner ones, held at equal distance. As modules interlock across the canvas, maximised colour interaction becomes the real subject. The idea comes from the structure of a chain, though the paintings carry none of its hardness.

Modular Field strips the module back to its overtly repetitive role across the canvas. In its simplest quadrilateral shape, composition depends entirely on the colour choice of the individual modules.

Modular Cadences gives each module its own space, standing out individually against the background in regular repetition. Within that order, variation is possible — through deliberate interventions in form, colour, and placement.

→ Discovery how two assemblages from Modular Cadences reveal a new narrative in Beyond.