The White Frames Series began from a practical consideration: the idea of creating an extensive body of small-format works. As the series developed, however, that initial purpose receded, giving way to something more immediate and personal — a need to paint instinctively, free from predetermined narratives, deliberate symbolism or the expectation of conveying a particular message.

Across its three parts, the series unfolds as an exploration of gesture, movement, colour and the subconscious. Forms emerge and disappear; at times they seem to approach something recognisable — a landscape, a figure, a boat, perhaps a trace of memory — only to remain unresolved. Nothing is imposed. The image is allowed to find its own direction through the act of painting.

This openness is held within a consistent visual structure: small, intensely worked surfaces surrounded by the quiet expanse of the white frame. The contrast gives each work its own concentrated presence while preserving the spontaneity from which it emerged.

The paintings do not ask to be deciphered. They offer no single narrative and no prescribed way of seeing. Instead, they leave space for the viewer’s own associations, memories and perceptions to enter the work.

At its core, the White Frame Series is rooted in a simple but essential freedom: the freedom to paint without knowing in advance what must appear — and the freedom of the viewer to discover what appears to them.