Literature

Pinks, greens, blues and ochres are pieced into compositions that read as architectures of consciousness, the geometric meeting the organic in the way Nasser Almulhim has long argued for, the visible language of an inner world rendered in colour. The paintings extend the artist's investigation of what he calls the split, the field between the conscious and the subconscious, with the saturated palette functioning as the means by which difficult interior territory is approached without flinch.