This painting began with a strange and persistent thought.
One morning I woke up thinking about medieval philosophy, and along with it came a really powerful vision of green and pink. Rather than overthink it, I stepped up to the canvas and began translating the feeling into paint.
Using cubist techniques—fracturing forms and building interconnected rhythms—I started constructing a figure that slowly emerged from the surface. What appeared was something like a member of the gentry, a prince summoned more from imagination than observation.
The painting unfolded intuitively. Shapes overlapped, strange relationships appeared between forms, and the figure seemed to materialise through a web of rhythm and structure rather than traditional representation.
It was an unusual experience to paint. Throughout the process my mind kept returning to ideas of medieval philosophy—questions of perception, knowledge, and the limits of the self. The painting seemed to evolve alongside those thoughts rather than illustrate them directly.
This work forms part of an exploration I’ve been quietly pursuing across several paintings. At the moment I’m not entirely sure where the direction will lead—and that uncertainty is part of the excitement. Occasionally paintings like this appear that feel like the beginning of something, as if they’re opening a door to a larger story that hasn’t fully revealed itself yet.
For now, I see my role simply as the vehicle that allows them to happen.
The Prince Who Saw Beyond Himself is one of those paintings—a figure emerging from imagination, rhythm, and colour, hinting at a narrative still unfolding.
