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Surface Drift (2026) Original Acrylic Painting by Anika De Souza

60 x 60cm (unframed)

2 Artist Reviews

£1,800

Surface Drift
Surface Drift moves through a quieter, more elemental register – where gesture, material, and erosion take precedence over language. Broad horizontal sweeps of deep brown, umber, and muted crimson stretch across the surface, interrupted by passages of raw canvas that breathe through the composition. The palette feels earthen, sedimentary – as if the painting has been built up and worn away over time.
The marks carry a sense of movement and resistance. Pigment is dragged, pooled, and allowed to bleed, creating edges that feel both deliberate and unstable. Drips and linear interruptions trace gravity’s pull, while darker passages gather density, holding the weight of repeated action.
Unlike other works, language here has receded almost entirely. What remains are traces – faint, gestural inscriptions that hover at the threshold of writing but never resolve into legible form. These asemic marks function as residue rather than text, suggesting a process where meaning has been worked through and dispersed into the surface.
There is a sense of drift throughout – of forms shifting, settling, and dissolving. The painting holds a tension between structure and erosion, control and release, as if it exists in a continuous state of becoming and undoing.
Surface Drift reflects a moment where language gives way completely to gesture – where the act of painting itself becomes the primary form of articulation.

Materials used:

Acrylic, pastels, graphite, chalk and oil stick on canvas

Details:

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Surface Drift
Surface Drift moves through a quieter, more elemental register – where gesture, material, and erosion take precedence over language. Broad horizontal sweeps of deep brown, umber, and muted crimson stretch across the surface, interrupted by passages of raw canvas that breathe through the composition. The palette feels earthen, sedimentary – as if the painting has been built up and worn away over time.
The marks carry a sense of movement and resistance. Pigment is dragged, pooled, and allowed to bleed, creating edges that feel both deliberate and unstable. Drips and linear interruptions trace gravity’s pull, while darker passages gather density, holding the weight of repeated action.
Unlike other works, language here has receded almost entirely. What remains are traces – faint, gestural inscriptions that hover at the threshold of writing but never resolve into legible form. These asemic marks function as residue rather than text, suggesting a process where meaning has been worked through and dispersed into the surface.
There is a sense of drift throughout – of forms shifting, settling, and dissolving. The painting holds a tension between structure and erosion, control and release, as if it exists in a continuous state of becoming and undoing.
Surface Drift reflects a moment where language gives way completely to gesture – where the act of painting itself becomes the primary form of articulation.

Materials used:

Acrylic, pastels, graphite, chalk and oil stick on canvas

Details:

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Anika De Souza

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Location United Kingdom

About
Anika De Souza is a Kingston-based visual artist specializing in calligraphic abstraction. Originally from Germany, she studied Graphic Design in Hildesheim, near Hanover, under the renowned calligrapher Gottfried Pott. Her... Read more

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