The space is divided into saturated color fields, with deep blue predominating. It creates a background, an atmosphere, an enveloping presence. Inside, there are ochre, yellow, orange, violet and bright yellow-green. These colors do not argue, but exist together, often flowing one into the other - in layers, veins, as if light is passing through them. The white forms - whether figures or hints of architecture, leaves, plant skeletons - are light, rhythmic and ubiquitous. They are not the center, but the connecting fabric of the painting. They recall the remnants of a dream or memory of a place you've never been, but which seems familiar. The technique of the work is layer-by-layer, with transparencies, overlaps, and a visible history of brush movement. In places the paint thickens, in places it almost disappears. Everything is written with interest in texture, in the interaction of paint and surface. You can see the depth of the layers: it is as if the painting was created gradually, rather than being created all at once. The overall impression is complex but harmonious. It is not an image, but a state. Not a garden, but its feeling