Bang Bang is built from collision and tension: dark blacks and burnt reds meet a pale, almost luminous field, while green and ochre forms push through the centre. Fine white and red lines slice across the painted surface like trajectories, wires or measurements, creating a sense of movement that shifts as the work is viewed from different directions. Scraped paint, scored marks and broken edges give the surface the feeling of something constructed, damaged and reworked. The painting never settles completely into landscape, structure or abstraction; instead, it holds all three possibilities at once. Its title gives the work a sharp, percussive charge, but the image itself is less about a single moment of impact than the energy and aftermath that remain behind.

Illustration by Dr. Suzanne Conboy-Hill

A dark field of black and burnt red is cut by a pale vertical plane, while a vivid green form seems to emerge from the centre of the work. Fine white and red lines travel across the surface like wires, trajectories or fragments of a drawing laid over the paint. Beneath them, scratched marks and heavily worked brushstrokes give the surface an architectural quality — part wall, part map, part memory of a place. The painting holds itself between abstraction and structure: something appears to be forming, but never quite resolves into a single recognisable object.

Illustration by Dr. Suzanne Conboy-Hill

The composition opens out across a broad horizontal field, with a dense black and rust-red mass set against a large pale area of white and grey. At the centre, green and ochre forms interrupt the darker ground, while fine white and red lines stretch across the surface like wires, routes or measurements. Scraped paint, scored marks and fractured edges give the work a sense of something built and weathered over time. The image never settles into a fixed subject; instead it hovers between landscape, structure and diagram.

Illustration by Dr. Suzanne Conboy-Hill

Dark reds, black and acidic green are driven through by a network of fine white and red lines that cut sharply across the painted surface. The marks suggest trajectories, ricochets or fractured lines of force, while scraped paint and broken edges give the image the feeling of impact already absorbed. A pale sweep along one side opens the composition, but the darker mass presses back against it. The result is tense without becoming literal: the title gives the work its sound, while the painting holds on to the moment after it.