These smaller works function as visual experiments, reducing the eye to its most essential elements. Using a deliberately restricted palette of greys, flesh tones, blacks and fluorescent orange, they explore how little information is required for the human mind to recognise an eye.
Hovering between abstraction and representation, the forms shift constantly in meaning. They can appear as irises and pupils, but also as cells, fossils, planetary surfaces or mechanical components. Familiarity emerges and dissolves as the viewer moves between recognition and uncertainty.
The works investigate perception itself, examining how the brain constructs meaning from simple combinations of shape, colour and contrast. Rather than depicting the eye as a fixed object, they focus on the processes through which visual information is interpreted and understood.
If The Eyes Have It celebrates the richness and spectacle of seeing, these studies examine its underlying mechanics. They ask how recognition is formed, how perception is conditioned, and how abstract marks become meaningful images. In their economy of means, the paintings reveal the remarkable capacity of the human mind to find order, identity and significance within even the simplest visual forms.