These two pieces sit on opposite ends of the same creative process—one driven by instinct, the other refined through structure, but both rooted in simple shapes and bold decisions.

The first composition began the way many of my abstract pieces do: fast, loose, and completely unplanned. Originally created with markers, the shapes built on each other through repetition and balance rather than intention. It wasn’t until the piece was finished that any recognizable idea emerged—something loosely resembling “wine and cheese,” which says more about my subconscious than my planning.

That sketch was later translated into a vector format, where the lines were sharpened and the structure became more defined. The spontaneity remains, but it’s now supported by clean edges, controlled spacing, and stronger visual contrast.

The second piece takes that process a step further into deliberate design.

This one began as a construction-paper study, focusing on bold shapes, color blocking, and composition. It was then refined digitally in Adobe Illustrator, transforming the original cut-paper feel into a crisp vector illustration.

Here, the influence of Bauhaus design becomes more apparent—minimalist geometry, intersecting black lines, and a limited but confident color palette. The composition leans into structure, balance, and repetition, while still maintaining a sense of movement through angled lines and overlapping forms.

Together, these pieces show two sides of the same approach:

• Intuitive, hand-created beginnings
• Digital refinement for clarity and scalability
• Strong geometric forms and simplified shapes
• A balance between accidental discovery and intentional design

Abstract work like this doesn’t rely on a fixed subject. Instead, it creates a visual language—one that hints at meaning without locking it in place. Sometimes that language turns into something recognizable. Sometimes it just holds a mood. Either way, the process is where the real work happens.