Mysleformy is an early body of abstract paintings developed around a simple question: how can an internal experience be given a visible form?
The series began with an interest in emotions and states that are difficult to describe through language. Joy, anxiety, tension, calm, attraction, discomfort, excitement, and other shifting experiences can be deeply physical, yet they remain invisible. Painting became a way of bringing these internal states outward — translating something felt rather than seen into colour, form, rhythm, and movement. Rather than illustrating particular emotions, I looked for their possible visual structures. Colour became a way of registering intensity and atmosphere. Form could suggest pressure, expansion, fragmentation, balance, or instability. Repetition and movement could reflect the way an internal state develops, changes, or persists. The paintings were created intuitively, through a process of responding to the image as it developed. There was no attempt to establish a fixed visual vocabulary for each emotion. The same feeling could take different forms, just as an internal experience can change depending on context, memory, and perception. Mysleformy therefore sits somewhere between abstraction and emotional notation. The works do not tell the viewer what to feel; they create visual structures through which an internal experience can become perceptible. The series was an important stage in the development of my practice because it shifted my attention from representing the visible world towards making invisible experience visible.
The series began with an interest in emotions and states that are difficult to describe through language. Joy, anxiety, tension, calm, attraction, discomfort, excitement, and other shifting experiences can be deeply physical, yet they remain invisible. Painting became a way of bringing these internal states outward — translating something felt rather than seen into colour, form, rhythm, and movement. Rather than illustrating particular emotions, I looked for their possible visual structures. Colour became a way of registering intensity and atmosphere. Form could suggest pressure, expansion, fragmentation, balance, or instability. Repetition and movement could reflect the way an internal state develops, changes, or persists. The paintings were created intuitively, through a process of responding to the image as it developed. There was no attempt to establish a fixed visual vocabulary for each emotion. The same feeling could take different forms, just as an internal experience can change depending on context, memory, and perception. Mysleformy therefore sits somewhere between abstraction and emotional notation. The works do not tell the viewer what to feel; they create visual structures through which an internal experience can become perceptible. The series was an important stage in the development of my practice because it shifted my attention from representing the visible world towards making invisible experience visible.
