Developed from Black Diamond, PRISMA (2026) draws upon the optical phenomena of refraction and dispersion: when white light passes through a prism, it unfolds into a continuous spectrum of color. If Black Diamond asks how one might make sense of an increasingly complex world through abstraction, PRISMA shifts its attention toward memory and perception. At a time when reality is increasingly filtered through digital technologies, PRISMA asks whether certain dimensions of life can be lived before they become language. Seasons, for example, are natural rhythms that persist beyond social and political narratives.

Contemporary digital imaging technologies have transformed the once-ephemeral rainbow into a spectrum that can be selected and sdited on a screen. It has gradually become part of our shared visual consciousness. For the first time, color has moved from a fleeting natural phenomenon to something that can be held, adjusted, and understood through the interface of a screen. Taking the seduction of the digital spectrum as its point of departure, PRISMA returns to the materiality of pigment. Guided by childhood memories and working through color, time, and touch, the series seeks to refract personal experience—folded into the “white light” of technology—back onto the surface of paper.

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