Different Typologies of Fear II

The second painting reinterpreted entrapment. Thick marbled layers of red, green and white suffused the surface, creating a dense, suffocating atmosphere. Within ruptures of paint, two obscured faces appeared: one screaming in red, the other half-concealed in green, its eye peering outward.

Here the layering acted like architectural barriers: concealing, revealing and repressing simultaneously. The faces seemed trapped within the surface itself. Acrylic’s viscosity and ability to dry quickly under layering was crucial to achieving this buried effect, turning paint into a metaphor for repression.

Together, these two works condensed the digital typologies into painterly fields, demonstrating how exposure and entrapment can be externalised through surface and texture.