Interior Logic I - On Space, Translation, and Discipline
The work did not begin with an intention to build a brand. It started with a space.
While restoring and inhabiting an old house, I found myself working within a living structure, its surfaces layered with time, materials revealing past decisions, traces of use and decay. The house was not a backdrop. It became an active participant, informing rhythm, colour restraint, and the need for forms to coexist rather than compete.
Painting during this period shifted from expression to observation.
I was no longer interested in producing images. I was interested in how internal systems form, how elements press against one another, how balance emerges through constraint, and how meaning can exist without narrative.
This shift marked a quiet but decisive change in my practice.
Instead of resolving compositions emotionally or aesthetically, I began allowing each painting to establish its own internal logic first. Colour was treated structurally. Form was allowed to negotiate space. Nothing was added to decorate, soften, or conclude. The work was complete only when its internal relationships felt inevitable.
Interior Logic I emerged from this discipline.
The painting does not attempt to describe a subject or evoke a mood. It operates as a system. Colour and form are held in tension, establishing hierarchy, pressure, and rhythm before any translation takes place. What matters is not what the painting depicts, but how it holds itself together.
This is why Interior Logic became foundational.
It is not only a painting, but a reference point, a work that defines how translation can occur without loss of integrity. Every fragment derived from it, every print, and every object that follows is guided by the logic established here. Nothing is extracted arbitrarily. Each edition remains accountable to the original structure.
This approach shapes The Colour Nest as an artist-led practice rather than a product-driven one. Objects are not designed independently; they are translations. They exist because the painting allows them to exist.
