24/05/2026
I’ve realised I’m drawn less to colour as statement and more to colour as atmosphere.
Muted tones still carry enormous emotional weight.
A softened peach can hold warmth and distance at the same time.
Blue-grey light can flatten space into something suspended and uncertain.
Fog dissolves edges into tonal shifts rather than objects.
I notice these conditions often around the shifting coastlines and weather of Aotearoa:
glare turning water metallic,
low cloud compressing the horizon,
dusk softening architecture into silhouette and trace.
Over time those observations seem to accumulate quietly in my work, not as direct representations, but as emotional and spatial conditions carried through tone, surface, and light.
Perhaps that’s why I keep returning to restrained palettes.
Not because colour feels absent there, but because it feels slower, more atmospheric, and somehow closer to the way memory holds a place.
Ever slowly changing.
