In Untitled (2025), a monumental ink-and-pastel drawing measuring 233 × 122 cm, Sophie Järvinen Postma develops a form that resists straightforward classification. The image is neither abstract nor figurative, yet occupies the space between: a body gradually emerging from overlapping lines and subtle pastel planes, revealing the logic of drawing itself. Not representation, but manifestation.
The composition is vertical, organised around a central axis. From this core unfolds a coherent yet elusive whole, activating the surrounding space. Soft, muted pastels — greens, earthy reds, and ivory transitions — are linked and tensioned by ink lines. Colour and line are not illustrative here, but structural: tools through which the act of drawing interrogates itself.
The artist’s hand remains visible. Pastel flows and densifies, while ink delineates without enclosing. This interplay gives the work a distinct tactility. The forms suggest organic and anatomical structures, yet resist recognisability. They imply movement without narrative, weight without mass, presence without figure.
Emptiness plays an active role too. Far from a neutral background, it generates tension and allows the image to resonate. Within this openness lies the ambition of Untitled: the work refuses a fixed reference, inviting the viewer to adopt a different mode of attention. Perception becomes not identification, but attentive awareness.
The drawing develops an internal rhythm and visual structure that is at once delicate and precise. It does not depict the visible world, but questions it. What does it mean to look, and how might thought be experienced spatially? These questions remain in motion, resonating beyond the boundaries of the image.
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