Field Notes: Phase 2

In this phase, my work explores the tension between structured repetition and incidental marks. Central to the compositions is a recurring form: a circle on a stem. This motif is rooted in two sources—graffiti found on the walls of the building where I work, and the pale outlines left behind after light switches were removed at Löwenberg. These quiet traces of past use became a formal anchor for a series of studies in presence, absence, and repetition.

Alongside this, I introduced stencil-based patterns derived from a wooden paintbrush holder I found on Temu. Originally a utilitarian object, it became a template for rhythm, order, and noise. Through layering, overspray, and hand-drawn additions, the works register a balance between controlled systems and the unpredictable outcomes of gesture and material.

In this phase, the paintings are as much about their physical process—printing, spraying, washing—as they are about what they depict. They document a shift: away from direct observation of my studio's history, and toward abstraction, where form and texture become a language of their own.