‘Blue on Blue’ is an immersive meditation on the colour blue.

The weavings are formed through repetition and restraint, placing blue against itself so that depth, stillness, and perception can unfold slowly. By removing contrast and overt narrative, blue becomes a field, something to enter, remain within, and return to.

Within the weaving, knots and entanglements appear as repeated gestures where attention gathers and steadies. The knots act as points of return, reminders of coming back to centre, to awareness, to self, creating fields of depth and stillness that invite sustained contemplation.

I am interested in the colour blue’s historical and natural resonance; from the sacred and treasured material Lapis lazuli, mined in Afghanistan as early as the seventh millennium BCE, to the atmospheric blues that have captivated artists across centuries – toward the ineffable, the infinite.

This attraction to blue deepened during a recent residency in Paris, where encounters with works by Yves Klein, Lee Ufan, Mark Rothko, Olga de Amaral, and Anish Kapoor reinforced my sense that blue does not reflect so much as absorb, drawing me inwards.

The title Blue on Blue reflects this layered approach, with blue operating simultaneously as surface and depth, presence and distance. I continue to return to Rebecca Solnit’s observation in A Field Guide to Getting Lost that “the colour of longing is the blue of distance, the colour of where you are not.”

Blue on Blue invites you not to arrive, but to remain.