This work signals a new period in my practice—one where ancient forms return to the surface through fields of color and gesture. The palette of pinks, yellows, sun-warmed browns, ochres, and inky blues draws from the geography of arid lands—the glow of sandstone at dusk, the fading gold of a desert horizon, the cool shadow that lingers after heat.

Figures rooted in Mesopotamian and Sumerian art have begun to reappear within these compositions. They emerge not as literal symbols but as impressions—echoes of ancient reliefs absorbed into abstraction.

My interest lies in the persistence of imagery—a leopard, a palm tree, a clay vessel dressed in gold leaf—and how a single form can carry meaning across thousands of years. These recurring motifs once served as language, communicating power, fertility, divinity, or life itself. In this work, they are reconsidered through modern abstraction, stripped of narrative yet still charged with presence.

The work reflects how fragments of the ancient world still surface in modern form, carrying their quiet meanings forward.

No. 3