Core Core is a painting series exploring the dense center of light — the concentrated heart of a luminous form, where color gathers most intensely before radiating outward into softer surroundings. Each work centers on a deep, saturated core that seems to hold its own weight against the canvas, a body of pigment pulled inward until it feels almost solid, before releasing gradually into the light that surrounds it. The works are in conversation with James Turrell's investigations of perceptual space, and draw on the chromatic fields of Mark Rothko, the saturated immersions of Yves Klein, the atmospheric installations of Olafur Eliasson, the pigment work of Anish Kapoor, the color meditations of Josef Albers, and the soft gradients of Wolfgang Tillmans' abstract photograms — artists for whom color, edge, and transition carry the weight that line and form do elsewhere. Something of Dan Flavin's fluorescent geometries and Robert Irwin's perceptual light works also sits quietly in the background — a lineage of makers interested in light as a material in its own right, alongside a broader modern design sensibility rooted in Bauhaus color theory and Scandinavian minimalism. Each work is made entirely with acrylic paint on canvas, using a custom-built painting contraption of my own design — a setup loosely inspired by old silk-screen equipment, though no screen or printing process is involved. The initial composition is laid down through hand-cut plastic templates in simple geometric shapes — circles, ovals, rectangles — used to place the first fields of saturated color directly onto the canvas. From there the work returns to the same DIY apparatus, where a system of soft brushes moves vertically and horizontally across the surface, blending and refining the painted areas over many mechanical passes. The result is built slowly, pass after pass, until the edges of the initial shapes soften completely and the pigment thins to near-transparency, allowing the white of the canvas beneath to glow through. Under certain lighting the paintings stop reading as paint entirely and seem lit from within, taking on an almost luminous, lamp-like quality that shifts throughout the day. A heavy protective varnish finishes each work with a glossy, reflective skin that deepens the sense of looking into rather than at the surface — an archival finish suited to long-term collection and display in contemporary interiors, whether in a private home, a design-forward space, or a gallery setting. Shipping: The work is delivered without a frame (professional packaging, rolled in a tube). it can easily be restretched by a professional or on your own, this is also cheaper then the otherwise increased cost of shipping when sending paintings stretched The measurements indicated are those of the painting stretched and mounted on a frame (The actual measurements of the canvas are larger to allow it to be mounted on a frame 2-4 cm thick. Disclaimer: Process photos included in the listing show studies and works in progress, as well as close up photos of showing the structure of the canvas.