Untitled

Op-art complexity and a shifting textural plane finds New Yorker Abrahams painting as a way to destabilise and redirect the viewer, the high contrasts and optical collisions conveying a sense of movement and dynamism that leaves a unique impression upon an individual. This piece breaks (comparatively) free of the grid and towards a massaging, wavelike composition, each hazy band forming and breaking in careful deployment of vertical strips of paint in varying thicknesses.