In Grey Sea (2026) an ochre horse curves across the left of the canvas, its single lashed eye turned outward, and its head held in the fine lines of harness. A peach-pink form sits on its back like a saddle. A standing human figure in the foreground holds out an ambiguous object in its hand from which grey arcs fan upward like a fountain. There is a playfulness to the scene, heightened by a candy-bright palette of rose, red and acid green that elbows in around ribbed grey masses above and a wide field of pale yellow below. We arrive a beat before the commotion: is the creature poised to be ridden, or about to bolt?

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