Continuity of Feeling
Medium: Oil on Canvas
Size: 3ft x 3ft
Creation Date: 2025
Collection: Organic Movement
Continuity of Feeling is a painting about movement that does not announce itself as motion. It does not depict action in the dramatic sense, but rather the quieter, more persistent flow of inner states as they pass through the body and settle into memory. The surface is built from layered, sweeping gestures that curve, overlap, and dissolve into one another, creating a sense of organic movement that feels both intentional and inevitable.
The dominant field of violet and magenta is not decorative; it is atmospheric. Color here functions as sensation rather than symbol. The shifts in tone—where darker purples give way to luminous passages of lavender and rose—mirror the way emotions evolve internally, never fully discrete, never entirely resolved. The brushwork carries the weight of time, with visible striations that record pressure, hesitation, and release. These marks are not corrected or concealed; they remain as evidence of process, allowing the painting to retain its history.
At three feet square, the scale is deliberate. The painting is meant to be encountered bodily, not read from a distance. As the viewer moves closer, the surface reveals subtle changes in rhythm—areas where paint has been pushed aside, compressed, or allowed to thin. These variations create a spatial experience that unfolds slowly, encouraging sustained attention rather than immediate interpretation.
The work draws from a lineage of abstraction concerned with inner states rather than external representation. There are echoes of Mark Rothko’s understanding of color as emotional ground, though here the field is more turbulent, less meditative. Gerhard Richter’s squeegee paintings inform the physical manipulation of paint, while the emphasis on gesture and accumulated motion carries traces of Willem de Kooning and Joan Mitchell. At the same time, the painting is shaped by my ongoing interest in Indian modernism—particularly the way artists like J. Swaminathan approached abstraction as a philosophical space rather than a stylistic one.
Continuity of Feeling resists narrative closure. It does not resolve into a single emotion or idea. Instead, it holds space for the way feelings persist, overlap, and transform over time. The painting is less about what is felt in any one moment and more about the fact that feeling itself continues—quietly, insistently—beneath the surface of daily life.
