BEADS ON PAINTINGS
In this period, beads and painting gradually began to meet within the same work.
At first, beads were mixed with material mass and placed onto painted surfaces without sewing. The bead was present, but it still functioned within the composition rather than as an independent act.
Later, the bead began to enter the painting through stitched trees. The image still existed, and the bead still served it: it became branches, leaves, flowers, and visible details within the painted landscape.
At first, these works still included mountains and recognisable scenery. Over time, the need for the full image began to disappear. The landscape became quieter. What remained was the bead tree and the coloured space around it.


2022


2022

Transition
100 x 100 cm
2023

Mind.
40 x 60 cm
2024

Fusion.
100 x 80 cm
2024

Under Skin.
40 x 70
2025
A painted-over beaded tree on canvas.
This was the final stage of decorative beadwork on a painted surface. The beadwork still formed an image, but the search had reached its limit.
After this point, the bead no longer had to become a tree, a flower, or an ornament.
It could separate from decoration and move toward a material act.
This stage was important because the bead was beginning to separate from the image and move toward the condition that would later define Bead Impact Art: a real human act fixed in matter through a bead.