Collision Study places triangles of deliberate, varying sizes across the canvas, none centred, none symmetrical, none at rest. Three tones carry the whole composition: deep charcoal, raw burnt sienna, and pale warm white. Where shapes overlap, new forms appear at the intersections without being drawn. The eye constructs them from the internal logic of the arrangement.

The largest triangle is cut by the canvas edge at the upper right, suggesting the work continues past what the frame allows you to see. The lower left holds almost nothing, bare white with little else, and that quiet emptiness is what gives the density building toward the upper right its weight. The collision reads as something already resolved and still echoing outward.

Three tones. No symmetry. No accident. Collision Study is a piece for spaces built around focus and forward thinking.