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Success in Circuits Lies (2026) Original Acrylic Painting by Marian Gorin

81 x 100 x 2cm (unframed) / 81 x 100cm (actual image size)

4 Artist Reviews

£477.15

Emily Dickinson once wrote that truth must be told "in circuit" — never head-on, always at a slant, so it can be borne. This painting takes that idea literally: hundreds of small circular forms build up across the canvas, dense and saturated at the centre, dissolving into pale translucent rings toward the edges. Nothing here is explicit. The eye has to work for it, circling closer before the piece reveals what it's really about.
Layered in fuchsia, magenta and soft lilac, the surface has an almost cellular, bubble-like texture — something you want to reach out and touch before you quite believe it's paint. It sits somewhere between coral seen underwater and tissue seen under a microscope: alive, unfinished, still forming.
A piece for anyone drawn to work that rewards a second look — the kind of painting that changes the longer you stand in front of it.

REF 118

Materials used:

Acrylics, pastel

Details:

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5.0

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Emily Dickinson once wrote that truth must be told "in circuit" — never head-on, always at a slant, so it can be borne. This painting takes that idea literally: hundreds of small circular forms build up across the canvas, dense and saturated at the centre, dissolving into pale translucent rings toward the edges. Nothing here is explicit. The eye has to work for it, circling closer before the piece reveals what it's really about.
Layered in fuchsia, magenta and soft lilac, the surface has an almost cellular, bubble-like texture — something you want to reach out and touch before you quite believe it's paint. It sits somewhere between coral seen underwater and tissue seen under a microscope: alive, unfinished, still forming.
A piece for anyone drawn to work that rewards a second look — the kind of painting that changes the longer you stand in front of it.

REF 118

Materials used:

Acrylics, pastel

Details:

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Marian Gorin

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Location Spain

About
My painting is rooted in the observation of light as a trigger for memory and perception. I am interested in those fleeting moments when an ordinary image — a shadow, a surface,... Read more

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