In Flight (2026), a tall column of smudged, gestural grey rises through the canvas, flanked by patches of ochre, yellow and burnt orange and a broad sweep of white. Near its centre, a small smile-like curved form of nested black curves – inked on paper and pasted onto the canvas – sits over the paint. The curves might be wings, or the trace of something in motion (a bird caught mid-launch, perhaps), yet the form hangs motionless, its crisp line almost weightless against the grey beneath. Raised from the surface by no more than a sheet’s thickness, it is the part of the picture that literally lifts off. Though the title promises movement and escape, the painting leaves open what – if anything – has taken flight.

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