In the work of IRIS FLUIDISM, the image does not begin as a contour but as current. Before line, before likeness, before even the face announces itself as subject, there is flow. A chromatic tide moves across the paper, swelling into bands of color that fold, spill, gather, and reassemble into the recognizable architectures of human and animal presence. It is within this tension between dissolution and form that her practice finds its distinctive authority. IRIS does not paint figures; she releases them from the liquidity that already inhabits them.
