Maryan Besaga

Birth continues the exploration of the primal impulse of creation, but shifts it into a more delicate, almost weightless state. Here, form is not so much constructed as it gradually emerges from its surrounding environment, appearing at the threshold between the visible and the undefined.

Much of the composition is shaped by a translucent space of cool blues, greys, greenish hues, and violets. Within it, organic, semi-transparent silhouettes appear, evoking natural structures — cells, petals, embryonic forms, or fragments of an as-yet-unknown organism. They seem to exist in a state of free movement, convergence, and a search for their future structure.

The dark circle on the left becomes a kind of inner space within the composition — a field of concentration in which luminous spherical impulses gradually merge into one another. Nearby, individual accents of colour and a red sphere emerge as points of energy within the diffuse painterly space. Large sweeping arcs encompass the composition, creating a sense of movement, orbit, and an invisible field in which the process of genesis unfolds.

The transparency of the painterly layers plays a particularly important role. Forms have no definitively established boundaries: they emerge, disappear, and overlap, as though representing different stages of a single process. Birth appears here not as the completed emergence of a new form, but as the moment of its transition from possibility into presence.

Birth captures one of the most subtle states within the Prima Motus series — the moment when the primal movement has already begun, yet what it brings into being has not acquired its final appearance. It is a space of potentiality in which life is only beginning to become visible.