On the Beach

The noise of the sea had died down, the ceremonial moment had passed, and she remained alone – stretched out on the sand, half in the embrace of the water. Her presence felt as if it had always been there, as if she herself were the boundary between the elements.

There was nothing left in her of the triumph that had belonged to her just moments before. She was naked and natural, resting on the edge of the elements, reconciled with the fact that beauty does not need to constantly take the stage. The sensuality of her body arose precisely from that calm after the storm, from her unostentatious presence.

From her naked body radiated not exposure, but unwavering calm – and it was this calm that was the source of her sensuality. A calm so clear that it was, in itself, a harbinger of a storm of passion.

She was a goddess – simple, lying, and yet undeniably beautiful – and she was the entire world.

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This oil painting, also tentatively titled Afrodité, is realized in the artist’s signature Geometric Deconstruction style, where intersecting circular segments and carefully measured lines create a structured yet lyrical visual space. A series of subtle curves define the contours of the female figure, harmonizing with the flat, uniform planes of sand and water. Golden lines, minimal and deliberate, anchor the composition and provide a quiet counterpoint to the organic diagonals of the reclining body.

The figure of the young woman is depicted lying diagonally across the canvas, half in the shallow embrace of water, her other leg bent gently across the first. Her left arm extends leisurely alongside her body, pointing toward the water, while her long, loose hair spreads across the sand like a soft, flowing ornament. The abstraction of her form emphasizes rhythm, proportion, and the serene geometry of her posture, yet the painting retains a palpable sense of corporeal presence and sensual calm.

On the Beach explores the tension between stillness and vitality. The reclining figure exudes an effortless sensuality—not from exposure, but from the luminous calm of her body at rest. The interaction of water, sand, and flesh is rendered with a precise economy of shape, allowing the viewer to feel both the warmth of sunlight on skin and the gentle coolness of the sea, without recourse to literal detail.

As in the artist’s other works, this painting invites contemplation of the balance between figure and environment, motion and repose, presence and abstraction. Every line and plane is not only a compositional device but a meditation on the quiet power of form, a reflection of harmony emerging from simplicity.

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