This work is grounded in the principle that Colour is Therefore Light. Rather than treating color and light as separate visual elements, it explores how color — through spatial transformation and layered concentration — can become light itself. The surface enacts this transformation directly: hues shift, blend, and dissolve into luminous zones, producing a prism-like effect across a unified field.

Beyond technical construction, the composition evokes an emotional geometry. Light does not radiate with force; it gathers inward. The central form suggests containment rather than explosion — as if something is being held, quietly embraced within a vast, textured expanse. Cracked surfaces and scattered particles mark time and entropy, but not destruction. Instead, they contribute to an atmosphere of softness, shelter, and continuity.

This is not light as spectacle — it is light as presence. A convergence of structure and feeling, where transformation and gentleness coexist.