A series of layered works produced through cycles of adhesion, concealment and incision.

Each work begins with watercolour and food dye on board. Wood glue is applied, forming raised surfaces that are then covered with translucent paintings. These layers are fixed, cut into, and built over repeatedly. The surface accumulates through this process. What is visible is partial. What is held beneath remains present but obstructed.

Cutting is not only a formal decision. It is an attempt at removal. The surface is repeatedly cut into, as if something within it could be taken out. It cannot. What is cut remains. The act does not resolve the form. It produces further layering.

The works were made during a period of personal rupture. A previous structure of life was dismantled. Relationship, profession and identity were renegotiated. The title refers to a year defined by repeated apology. Self-definition was experienced as damage. Apology functioned as a method of maintaining coherence while that coherence was breaking.

Each layer operates as both preservation and suppression. The works move in two directions at once. Upward, toward refinement and control. Downward, toward exposure of what cannot be removed. Adhesion fixes the surface. Cutting attempts to undo it. Neither action completes. The works do not resolve. They remain in a state of repetition, where destruction and construction produce the same result.

Layered paintings in watercolour and food dye, built with wood glue and repeatedly cut.