A Whole in Everything

The artwork is divided into four differently colored sections, connected through various patterns and layers. Leopard patterns, spirals, and abstract forms create an exciting, almost restless surface. Particularly striking is the symbolism of the eye, which runs throughout the entire work: a large, dominant eye, eyes incorporated into a sunlike form, some without pupils, as well as a more abstract eye. This creates the impression that the work itself is observing and searching for something.
The different layers of the image reinforce this impression. Beneath the large eye appears an abstracted fist, followed by a hand with spread fingers, then patterns, and finally the background. The hand can symbolize touch or action, while the fist suggests tension, resistance, or anger. The overlapping layers appear like different thoughts, emotions, or states merging into one another.
The painting was created using acrylic paint, Edding, and fire. Particularly striking is a large (burn) hole that takes up an entire quarter of the image. It becomes a deliberate void, immediately raising the question: What was there? What was destroyed or removed?
The hole can represent inner emptiness, a gap within the self, or a “hole in the heart,” same time it can suggest a gap in our perception and in our attempt to fully understand the world. The many eyes reinforce this idea: although the image is filled with eyes, they can no longer see what was once there. At the same time, they now catch a glimpse behind the image, perhaps of something that was previously hidden.
Ultimately, the work asks whether a void is really just something that is missing, or whether what is missing can, in fact, open up a new way of seeing.