Market and the Morning

Market and the Morning is built on a palette of three — blush-pink, electric yellow, and the deep brown of skin that anchors every figure to something real. The backgrounds are flat, matte, deliberately so. No blending, no atmosphere, no soft edges. Just colour that has made up its mind. Against that stillness, the yellows do all the work — shifting from warm ochre to saturated block depending on the light, the fabric, the hour. The fish get the most attention; silver and grey and slightly iridescent, they are the one place where the brush slows down and looks closely.

The figures are rendered with confident, unfinished edges — faces suggested rather than detailed, shadow where a jaw should be, light where a cheekbone turns. This is not carelessness. It is a choice to keep you in the whole composition rather than lost in a single face. The paint is thick in the yellows, thinner in the pinks, and the texture is part of the work. Each piece is hand-painted in oil and acrylic on canvas. The hand is always visible. That is the point.