Unlike smooth, resolved surfaces that allow the eye to glide effortlessly, works in this series are an archive of their own creation; a visual resistance of broken patterns, multiple layers and halting marks that trip up and slow down the viewer’s gaze. Paint is not just colour, but a physical, sculptural substance with weight and depth. The process of exposing the raw birch panel as minimalism through elimination, mimics natural geological weathering where the orbital sander becomes a high-speed proxy for wind, water and time, creating organic transitions between paint layers and the surface, grounding these works as literal objects rather than illusions, and underscores vulnerability and instability.