Slitbreak operates at the material edge of the two-dimensional plane. The canvas is subjected to intervention—a primal vocabulary of cuts, tears, and structural breaches registering the impact of systemic imperfection. These markings are not simply damage, but an inversion of form.

This piece now expands into material accumulation. High-viscosity metallic deposits and mineral "gunks" are introduced, offsetting the instability of the void. These heavy, silver accumulations act as a viscous stasis—a residue that congregates at the edge of the void, manifesting as a structural counterweight to the canvas's dissolution.

By exposing the wood frame, the void, these works fundamentally challenge the objecthood of the painting. The resultant Slits / Rips / & Breaks function as an interval; the external is absorbed into the work’s composition, rendering space and time explicitly material. This creates a composite reality where the painting’s internal labelstructure is made legible only through its 1||url to the non-local field behind it.

Mixed media and cuts on wood mounted canvas
Front and side view
43 x 48cm (variable dimensions)

Slitbreak operates at the material edge of the two-dimensional plane. The canvas is subjected to intervention—a primal vocabulary of cuts, tears, and structural breaches registering the impact of systemic imperfection. These markings are not simply damage, but an inversion of form.

This piece now expands into material accumulation. High-viscosity metallic deposits and mineral "gunks" are introduced, offsetting the instability of the void. These heavy, silver accumulations act as a viscous stasis—a residue that congregates at the edge of the void, manifesting as a structural counterweight to the canvas's dissolution.

By exposing the wood frame, the void, these works fundamentally challenge the objecthood of the painting. The resultant Slits / Rips / & Breaks function as an interval; the external is absorbed into the work’s composition, rendering space and time explicitly material. This creates a composite reality where the painting’s internal labelstructure is made legible only through its 1||url to the non-local field behind it.

Mixed media and cuts on wood mounted canvas
Front and side view
43 x 48cm (variable dimensions)

Slitbreak operates at the material edge of the two-dimensional plane. The canvas is subjected to intervention—a primal vocabulary of cuts, tears, and structural breaches registering the impact of systemic imperfection. These markings are not simply damage, but an inversion of form.

This piece now expands into material accumulation. High-viscosity metallic deposits and mineral "gunks" are introduced, offsetting the instability of the void. These heavy, silver accumulations act as a viscous stasis—a residue that congregates at the edge of the void, manifesting as a structural counterweight to the canvas's dissolution.

By exposing the wood frame, the void, these works fundamentally challenge the objecthood of the painting. The resultant Slits / Rips / & Breaks function as an interval; the external is absorbed into the work’s composition, rendering space and time explicitly material. This creates a composite reality where the painting’s internal labelstructure is made legible only through its 1||url to the non-local field behind it.

Mixed media and cuts on wood mounted canvas
Front and side view
43 x 48cm (variable dimensions)

Slitbreak operates at the material edge of the two-dimensional plane. The canvas is subjected to intervention—a primal vocabulary of cuts, tears, and structural breaches registering the impact of systemic imperfection. These markings are not simply damage, but an inversion of form.

This piece now expands into material accumulation. High-viscosity metallic deposits and mineral "gunks" are introduced, offsetting the instability of the void. These heavy, silver accumulations act as a viscous stasis—a residue that congregates at the edge of the void, manifesting as a structural counterweight to the canvas's dissolution.

By exposing the wood frame, the void, these works fundamentally challenge the objecthood of the painting. The resultant Slits / Rips / & Breaks function as an interval; the external is absorbed into the work’s composition, rendering space and time explicitly material. This creates a composite reality where the painting’s internal labelstructure is made legible only through its 1||url to the non-local field behind it.

Mixed media and cuts on wood mounted canvas
Front and side view
43 x 48cm (variable dimensions)

Slitbreak operates at the material edge of the two-dimensional plane. The canvas is subjected to intervention—a primal vocabulary of cuts, tears, and structural breaches registering the impact of systemic imperfection. These markings are not simply damage, but an inversion of form.

This piece now expands into material accumulation. High-viscosity metallic deposits and mineral "gunks" are introduced, offsetting the instability of the void. These heavy, silver accumulations act as a viscous stasis—a residue that congregates at the edge of the void, manifesting as a structural counterweight to the canvas's dissolution.

By exposing the wood frame, the void, these works fundamentally challenge the objecthood of the painting. The resultant Slits / Rips / & Breaks function as an interval; the external is absorbed into the work’s composition, rendering space and time explicitly material. This creates a composite reality where the painting’s internal labelstructure is made legible only through its 1||url to the non-local field behind it.

Mixed media and cuts on wood mounted canvas
Front and side view
43 x 48cm (variable dimensions)