Blue Hands 5

This piece began with a guitar, but it didn’t stay there for long.

What remains recognizable is not the instrument itself, but the place where touch happens. The pickguard — a surface designed to receive motion — becomes the anchor. Everything else is allowed to soften.

The hands are no longer literal. They are not meant to be studied or identified. They exist in motion, dissolving into color and air, somewhere between action and sound. What matters is not the hand, but the act of contact — the moment just before vibration becomes music.

Blue dominates the image intentionally. Not as mood, and not as symbolism, but as temperature. Blue slows the eye. It removes urgency. It allows the viewer to stay rather than search.

The sky is not a background. It is part of the form. There is no edge separating subject from space. The image does not sit inside a square or press against boundaries. It floats, uncontained, the way sound does.

This work is meant to be calming — not decorative calm, but suspended calm. A place where nothing is demanded of the viewer. No story must be solved. No emotion must be named. You can simply remain with it.

Blue Hands 5 is part of an ongoing exploration of work created without square edges — images that resist confinement and allow form to dissolve naturally into space.

Sometimes the most honest moment in music is not the note itself,
but the touch that brings it into being.