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Abstract Inquiry · 2026
Ferrari Divide
Available · in the studio, Phoenix
The line between performance and everything else — the Ferrari divide as the abstract mark between what moves and what holds.
At 72 x 60 inches, Ferrari Divide is a painting about energy, structure, and visual velocity. The composition is stark and direct: a vast field of intense Ferrari red confronts a monumental black form that presses into the canvas from the left. The two elements collide along a stepped boundary, creating a tension that feels engineered rather than accidental.
The red field is unapologetically bold. It evokes speed, performance, and forward momentum—the same emotional charge associated with the iconic Ferrari color. Against it, the black structure appears dense and physical, its textured surface revealing the hand of the artist. Thick paint marks give the black mass weight and resistance, as if it were absorbing the energy radiating from the red expanse.
The stepped geometry between the two fields becomes the visual fulcrum of the painting. It suggests mechanical precision, almost like a machined edge or architectural cut. The painting holds a balance between motion and restraint: the red pushes outward with velocity, while the black anchors the composition with gravity.
The work draws from several strands of modern and contemporary abstraction. The reductive power of color fields recalls the legacy of artists such as Barnett Newman and Mark Rothko, where large chromatic planes create emotional and spatial tension. The architectural clarity of the composition also echoes Piet Mondrian’s pursuit of balance through minimal structure.
Among contemporary artists, one can sense a resonance with the bold visual language of artists such as Gerhard Richter, whose work often balances intense color with formal restraint, and Sean Scully, whose paintings explore structure, weight, and emotional geometry through powerful blocks of color. These influences inform the painting’s dialogue between precision and expression.
My own background in mathematics and systems thinking shapes how I approach abstraction. I often think of paintings as systems of opposing forces—color against structure, motion against stillness. Ferrari Divide embodies that philosophy. The painting becomes a moment where energy meets boundary, where speed confronts structure.
It is both mechanical and emotional, minimal yet charged with intensity.
Where to see it. In person at RituStudio, Phoenix, by appointment. Represented by Jarrow & Goodman, Los Angeles.
The space it needs
- Wall
- At least 8 ft wide
- Ceiling
- 9 ft or more
- Light
- Natural light preferred — oil layers shift through the day
- Daylight
- Scarlet meets bitumen at a stepped edge that strong sun can soften, since the contrast is lower than it looks. East or north light keeps the red from running hot and the divide sharp.
Lives best in
Living room 5/5
Ferrari Divide earns a 5 here: its scarlet-and-bitumen collision at five by six feet becomes the room's engine, pulling every chair and conversation toward the charge between speed and boundary.
Boardroom 5/5
A 5: the precision of the stepped collision between scarlet and black reads as controlled force rather than chaos, which is exactly the language a boardroom needs on its long wall.
Details
- Size
- 5 × 6 ft (W × H)
- Medium
- Oil on canvas
- Year
- 2026
- Collection
- Abstract Inquiry
- Palette
- Scarlet · Bitumen
- Weight
- About 45 lb
- Ready
- In the studio; delivery 8–12 weeks
Its ArtGram
ArtGram.Quatrefoil
- Texture4
- Form4
- Colour range1
- Palette4.5
- Contrast1.7
- Abstraction Quotient3
