Optics of Touch sits at the intersection of several major traditions of abstraction. It draws on the radical economy of hard-edge painting, where form is defined through exact contour and deliberate reduction; on the intensity of color field painting, where concentrated color operates as pressure rather than illustration; and on the legacy of Op Art, where static form generates perceptual instability. Yet these paintings move away from the disembodied flatness of those traditions. Their surfaces are built through dense relief made entirely with paint, turning the picture plane into something tactile, resistant, and physically present.

The forms themselves are neither geometric in the strict modernist sense nor freely expressive. They are biomorphic, concentrated, and highly controlled, closer to a kind of organic suprematism: not the absolute of the square or the rectangle, but the absolute of living form. Reduced to contour, color, rhythm, and pressure, each work insists that simplicity in painting is not the absence of complexity, but its compression. What appears immediate is in fact exact. These works operate as disciplined structures in which minimal form carries historical memory, visual tension, and material force.

006

150 x 150

acrylic on canvas

2018

007

150 x 150

acrylic on canvas

2018

008

150 x 150

acrylic on canvas

2018

009

150 x 150

acrylic on canvas

2018