WHEN BLUE BECOMES A TERRITORY I

STATES OF MINERAL LIGHT I

DRIFT OF MINERAL LIGHT

BLUE MINERAL PASSAGE

MINERAL SILENCE V

LES 3 FEMMES

MINERAL SILENCE III

VERTICAL SILENCE

QUIET VERTICALITIES II

STATES OF MINERAL LIGHT II

STATES OF MINERAL LIGHT III

MINERAL SILENCE II

OCEAN DEEP BLUE

Blue as a territory and behaviour. I work through gesso, modeling paste, and river sand collected from Serra da Estrela, portuguese mountain innerland, at the highest point of Continental Portugal at 1993m of altitude, allowing viscosity, grain, and absorbency to reshape the pigment’s, depth and tempo. Layering, scraping, and staining create a visible history—blue as sediment, atmosphere, and signal. This investigation is ultimately spatial. Blue alters how a room holds the body: it can expand perceived volume, slow attention, and change the sense of human presence— whether one feels anchored, exposed, calmed, or quietly confronted. I think of blue as a systemic context—where matter, light, distance, scale, architecture, and the viewer’s body form one continuous circuit. Ultimately, these works are designed for. real space. They reward close looking through texture and micro-contrast, while reading clearly from distance through stable fields and repeated movement.

Sonia J. | Large-Scale Contemporary Art

Frida

ATMOSPHERIC BLUE SERIES