Vertical Currents

Sometimes the deeper kinship between two works of art only reveals itself when you place them side by side. At first glance these are two entirely independent colour worlds — yet look more closely and an intense visual dialogue emerges, carried by a shared, dominant rhythm.

Both works are driven by a strong vertical current — an upward movement punctuated by subtle, curved focal points that repeatedly catch the viewer's eye.

These are not quiet or static images. Both live on densely layered energy: colour and line overlap, conceal and reveal. It is precisely in this density, in the processual interplay of strata, that a vital aliveness arises — the quality that connects the two works.

Where the paths diverge: the attitude towards the boundary

What fascinates me most, however, is not the common ground but where the two works part ways: in their attitude towards the boundary. The left-hand picture presents a block-like structure — a self-contained energetic core that holds its tension within. The painting seems to say: Here I am complete, centred in myself.

In Fabyen's work this fixed edge dissolves entirely. The painting reads like a fleeting fragment of an infinite universe, pressing far beyond the physical edges of the canvas. It is a compelling conversation between an established, self-sufficient autonomy and a boundless movement that simply overrides the visible frame.

That, for me, is what makes these visual dialogues so compelling: two works created entirely independently, similar in their underlying structure — and for precisely that reason, all the more revealing in their difference.