Irregular Hexagons
83 Oranges83 Oranges constructs a rhythmic landscape of shifting geometry where digital precision meets the soft, atmospheric bleed of watercolor. This piece organizes irregular hexagons into a vibrant mosaic, balancing the rigid structure of a pattern with the organic warmth of hand-painted textures.

Irregular Hexagons
83 Oranges constructs a rhythmic landscape of shifting geometry where digital precision meets the soft, atmospheric bleed of watercolor. This piece organizes irregular hexagons into a vibrant mosaic, balancing the rigid structure of a pattern with the organic warmth of hand-painted textures.
28 × 35 cm · about ⅙ the width of a 3-seat sofa
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Art Analysis
A rhythmic mosaic of shifting watercolor geometry
83 Oranges explores the intersection of mathematical geometry and fluid pigment through a series of interlocking, hand-drawn shapes. Each hexagon deviates from strict symmetry, creating a sense of movement across the portrait orientation as if the colors are settling into a natural alignment. The digital application mimics the transparency and layered depth of traditional watercolor, allowing various hues to overlap and pool at the edges of each individual cell.
The composition relies on a tessellated arrangement that avoids monotony by varying the internal textures and tonal values of every form. By combining a structured grid with the tactile quality of grainy, weathered surfaces, the work finds a balance between architectural order and the spontaneous energy of abstract design.
The artist utilizes refined angular shapes and faceted forms to build the dog's likeness from a series of sharp, interlocking planes.
The use of coral and turquoise creates a balanced palette that feels both vibrant and soothing against the visible paper grain.
The artist fits individual shapes together like a puzzle, using digital tools to simulate the layered transparency of physical paint.
Rich, grainy textures are applied to flat shapes to create a physical presence that mimics architectural materials.
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