Under the Green marks an early turning point in my relationship with materials and with the role of uncertainty in my process. It began with an accident: reaching for what I thought was fluid white paint, I instead introduced a thick, textured white that behaved entirely differently from what I had intended. The unexpected marks were more compelling than the ones I had planned.
Rather than correcting them, I followed them. The painting developed through that exchange between intention and accident, its dense green field gradually accumulating fragments, traces and flashes of colour that seem to emerge from within it rather than sit upon its surface.
That small moment of serendipity became the beginning of something much larger in my practice: learning to step beyond the image I thought I was making and allow materials, process and chance to contribute something I could not have consciously designed. Under the Green became an early exploration of the possibility that relinquishing control does not mean abandoning intention, but creating space for something unexpected to emerge.
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