Oil on Canvas
50 cm wide x 76 cm high
PROVENANCE: On hand at artist’s studio. Signed R22 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back.
A solitary brown tower stands within a deeply layered blue sky in The Relationship Between Gratitude and Loneliness. Its long, divided profile rises from an angular base, while broad forms to either side turn outward into the surrounding landscape. The central presence is distinct, but the entire scene appears to move around and through its position.
The cool upper field is crossed by red, gray, and muted yellow, giving the atmosphere a density that counters the tower's relatively quiet faces. Below, curved ochre passages and pale ridges draw the eye across the ground. The flanking structures introduce a feeling of extension without becoming companions of equal height, leaving the vertical form both supported by its setting and visibly alone.
The title holds two emotional states together without declaring them opposites. The painting offers room for that ambiguity: solitude can feel exposed, yet the surrounding world is far from empty. Its strength lies in the balance between the concentrated central silhouette and an environment full of movement, a relationship that changes as the viewer attends first to the figure and then to the space sustaining it.
Oil on Canvas
50 cm wide x 76 cm high
PROVENANCE: On hand at artist’s studio. Signed R22 on front bottom left. Artists seal and Certificate of Authenticity in Sleeve on back.
A solitary brown tower stands within a deeply layered blue sky in The Relationship Between Gratitude and Loneliness. Its long, divided profile rises from an angular base, while broad forms to either side turn outward into the surrounding landscape. The central presence is distinct, but the entire scene appears to move around and through its position.
The cool upper field is crossed by red, gray, and muted yellow, giving the atmosphere a density that counters the tower's relatively quiet faces. Below, curved ochre passages and pale ridges draw the eye across the ground. The flanking structures introduce a feeling of extension without becoming companions of equal height, leaving the vertical form both supported by its setting and visibly alone.
The title holds two emotional states together without declaring them opposites. The painting offers room for that ambiguity: solitude can feel exposed, yet the surrounding world is far from empty. Its strength lies in the balance between the concentrated central silhouette and an environment full of movement, a relationship that changes as the viewer attends first to the figure and then to the space sustaining it.
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