The title comes from the colour, not the stone. The deep cobalt I used for the elongated forms has the same density as sapphire — the longer you look, the more it draws you in.
The forms rise on thin stems from a silver-grey ground running down in vertical drips. Behind them stand paler grey twins — the same shapes, only withdrawn, as if they were a memory or an announcement.
The surface of each form is covered with a net of irregular cells. That is what makes everything read as alive rather than as a solid, despite the abstract shape.
The large horizontal format works above a sofa or a chest of drawers — the painting needs distance for the silver to come through.
Oil on canvas, 100 × 130 cm. This work has been sold; it stays in the archive to show where the paintings available today came from. Similar motifs are in the oil painting gallery.