G.B. America – Space Cowboy

He reached out.

Not as an offering,

not in peace.

But in the posture of arrival.

They moved away.

Not in fear, but in knowledge.

This isn’t a story of beginnings.

It’s a painting of what was already known,

and what was taken anyway.



The myths came later.

The distance remains.







They Say...

She was just a girl with a backpack—small, quiet, watching. The world around her was loud, full of opinions—commands dressed as facts, slogans passed off as truths. Every day, she walked through a storm of noise: adults with microphones, strangers with certainty, leaders with agendas. They circled her like giants—square-headed, sharp-edged, armed with ideas that struck like bullets. Some called it wisdom, others called it fear. They told her what was right, what was real, what was worth dreaming. Obedience was expected, rebellion discouraged.

And yet, beneath that quietness, something else stirred. She wasn’t empty. She had a voice of her own—still forming, but there. A mind that could weigh, question, and choose. They shouted, She listened. They insisted, She considered. Their words pushed, but her will stood firm. The world had its script, but she held the pen.

Proverb: They told her what to be—she rewrote the script.



BAS FONDS — The Blue Hand (2018)

Bas Fonds The Blue Hand stands as a luminous symbol of the human interior: powerful, vulnerable, and endlessly complex. This large ceramic hand, glazed in a deep shifting blue, rises from the ground like a fragment of a larger being severed yet intensely alive. Within its open wrist lies a maze, an intricate architecture that echoes the hidden turns of thought, memory and emotional experience. As viewers move around the piece, the glaze seems to breathe and change, reminding us that identity is never fixed but constantly in motion. Combining sculptural strength with psychological depth, Bas Fonds invites contemplation of what lies beneath the surface the unseen mechanisms of our lives, our choices, and the private labyrinths that shape who we become.



80.15.05

80.15.05 revisits the tension between memory and modernity. The title suggests a timestamp a moment preserved while the imagery hints at the fragile architecture of recollection. Thin lines, partial forms and drifting fragments create a landscape where past and present overlap. The work reflects how personal history can blur, distort or reassemble itself as life evolves. In an age of digital archives and automated nostalgia, 80.15.05 asks what remains authentically ours. Is memory shaped by experience, or by the stories we later tell ourselves? Through sparse composition and emotional restraint, the piece becomes an invitation to reflect on how moments survive not as perfect recordings, but as living echoes shaped by who we have become since.



Quadriga

This work reflects on the long and turbulent journey of the Quadriga horses taken, transported, displayed and reclaimed across empires as a symbol of humanity’s long history of claiming beauty as evidence of power. The original sketch becomes a quiet echo of their monumental story: from ancient Greece to Constantinople, to Venice, then Paris, and finally home again. Rather than illustrating triumph, the piece highlights the uncomfortable truth that the “spoils of war” are never truly possessed, only borrowed from time. Through stark lines and noble faces, the drawing stands as a reminder that art often outlasts the empires that attempt to own it, and that cultural grandeur is frequently built upon cycles of taking, losing and returning.



Turf

Turf captures the fragile interplay between gravity, fear and perspective. A bright, inverted figure floats between falling and rising, suspended in a moment of internal imbalance. The arrow points downward, urging us to accept gravity’s pull, yet the colours suggest resilience and play. The work explores the psychological experience of “falling” how the mind can distort danger, tilt reality and magnify fear even when we remain firmly on solid ground. Rather than despair, the piece offers reassurance: that imbalance is a moment, not a destiny, and that grounding can come from joy as much as from earth itself. Turf is a reminder that the heaviest force we fight is often not physics, but thought.



UNITY

UNITY transforms humour into cosmic philosophy. What first appears as a quirky scene a colourful figure guiding a numbered creature reveals itself as a meditation on cycles, consumption and universal rhythm. The dog-machine hybrid represents the looping processes that define existence: input, transformation, release, renewal. The handwritten note, “Most follow in a circle…”, underscores how humans mimic these loops, often mistaking repetition for progress. Vibrant, playful and unsettling, UNITY reflects the deeper structure of the universe from biology to galaxies where everything moves in patterns that feed themselves. The work invites viewers to see connection not as harmony, but as interdependence: the wild, humorous, sometimes absurd unity that binds all life into motion.



LOVE

In LOVE, tenderness meets distortion, revealing how modern affection has been reshaped by screens, speed, and the pressures of digital life. The composition fractures into homes, circuitry, faces and signals a landscape where connection is both sought and strained. The running figure labelled “FAST” symbolises a culture rushing through intimacy, while the central forms evoke both heart and machine. This is not a critique of love’s disappearance but a meditation on its transformation. LOVE reflects on how something once built through patience, presence, and vulnerability now risks becoming compressed, convenient, and emotionally thin. Through vibrant colour and vulnerable line, the work asks a simple question: in an age of instant connection, what does it truly mean to feel?



VOXXX

VOXXX explores the strange new landscape of human communication in a digital age overflowing with noise. The work fuses instinct, machinery and surreal anatomy to ask what happens to our inner voice when every channel is crowded. The figure’s fractured head, the maze-like “pickle brain,” and the marching crowd below hint at the tension between individuality and the algorithmic chorus. With humour and unease, VOXXX reflects a world where thought risks becoming lost in transmission and where clarity is drowned by endless content. It invites viewers to pause in the chaos, to reclaim the quiet space within, and to consider what it means to still think and be heard in a world permanently switched on.



PRIMER

PRIMER examines the choreography of modern life the motions we inherit before we ever question their meaning. Rendered in raw, immediate lines, the figures appear half-human, half-mechanical, guided by invisible instructions. The repeated forms, blocked mouths, and the solitary word “BLINK” suggest a world where routine masquerades as purpose and people drift through prescribed behaviours. The sketch captures the trance of contemporary existence: efficient, patterned, and quietly disconnected. Yet within the haze, a spark remains the possibility of waking, of recognising ourselves beyond function. PRIMER confronts the viewer with the paradox of a world that teaches obedience before understanding, urging us to see that the first act of freedom is noticing we’re in the loop at all.