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                        <loc>https://bardykinstudio.com/left-cover-—-desktop</loc>
            
            
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                        <loc>https://bardykinstudio.com/cover-—-mobile</loc>
            
            
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            <url>
                        <loc>https://bardykinstudio.com/main-slideshow</loc>
            
            
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                                            <image:caption>&lt;div style=&quot;text-align: left&quot;&gt;&lt;span class=&quot;captions&quot;&gt;&lt;br /&gt;&lt;br /&gt;Interval D - A 2026&lt;br /&gt;Acrylic, airbrush, layered glazing, sanding, and hand-polished surface on canvas Artist-made painted frame, hand-polished and lacquered &lt;br /&gt;23 × 36 in. / 58.4 × 91.4 cm (unframed)&lt;br /&gt;Private Collection, Los Angeles&lt;br /&gt;
&lt;br /&gt;Interval D–A is part of Bardykin’s ongoing Intervals series, in which colour functions as musical resonance rather than representation. The work translates the relationship between two musical notes into colour: ultramarine blue (A) and orange (D).&lt;br /&gt;Built through more than 120 translucent layers of acrylic, repeated sanding, and hand polishing, the painting develops through accumulation, removal, and optical depth. The upper field emerges through successive veils of ultramarine and blue pigments, gradually deepened through layering to create a sense of stillness, structure, and sustained tension. The lower field is constructed over titanium white and transformed through transparent orange and red glazes, allowing light to remain suspended beneath the surface.&lt;br /&gt;The artist-made frame, developed through approximately 20 additional layers, is hand-polished and lacquered as an extension of the painting itself. Rather than functioning as a border, it continues the chromatic field beyond the canvas, shifting the work from image toward object.&lt;br /&gt;Rather than depicting a landscape, Interval D–A investigates memory, tension, and sustained resonance - the moment when sound has already disappeared, yet continues to exist internally.&lt;/span&gt;&lt;/div&gt;</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: left&quot;&gt;&lt;span class=&quot;captions&quot;&gt;&lt;br /&gt;&lt;br /&gt;Interval D - A 2026&lt;br /&gt;Acrylic, airbrush, layered glazing, sanding, and hand-polished surface on canvas Artist-made painted frame, hand-polished and lacquered &lt;br /&gt;23 × 36 in. / 58.4 × 91.4 cm (unframed)&lt;br /&gt;Private Collection, Los Angeles&lt;br /&gt;
&lt;br /&gt;Interval D–A is part of Bardykin’s ongoing Intervals series, in which colour functions as musical resonance rather than representation. The work translates the relationship between two musical notes into colour: ultramarine blue (A) and orange (D).&lt;br /&gt;Built through more than 120 translucent layers of acrylic, repeated sanding, and hand polishing, the painting develops through accumulation, removal, and optical depth. The upper field emerges through successive veils of ultramarine and blue pigments, gradually deepened through layering to create a sense of stillness, structure, and sustained tension. The lower field is constructed over titanium white and transformed through transparent orange and red glazes, allowing light to remain suspended beneath the surface.&lt;br /&gt;The artist-made frame, developed through approximately 20 additional layers, is hand-polished and lacquered as an extension of the painting itself. Rather than functioning as a border, it continues the chromatic field beyond the canvas, shifting the work from image toward object.&lt;br /&gt;Rather than depicting a landscape, Interval D–A investigates memory, tension, and sustained resonance - the moment when sound has already disappeared, yet continues to exist internally.&lt;/span&gt;&lt;/div&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Interval II – F/A&lt;br /&gt;2026&lt;br /&gt;21 × 18 in. (53.3 × 45.7 cm)&lt;br /&gt;Acrylic, fluorescent glazing, layered pigments, repeated sanding, polishing, and hand-finished optical surface on canvas.&lt;br /&gt;Part of the Intervals series.&lt;br /&gt;Based on my personal system translating musical notes into colour relationships, Interval II – F/A explores the resonance created between two notes through colour rather than sound.&lt;br /&gt;The deep ultramarine upper field represents A (440 Hz), while the warm lower register references F (≈349.23 Hz). Unlike a literal landscape, the lower field was intentionally developed to evoke the surface of aged wood—the body of a violin, piano, or cello—where sound is carried not only by strings, but by the material itself.&lt;br /&gt;Built through repeated glazing, sanding, and hand-polishing, the painting develops optical depth that changes with light and viewing angle. Rather than depicting an instrument, the work evokes its presence through colour, surface, and resonance.&lt;br /&gt;The painting exists in the quiet space between sound and silence, where colour begins to behave like memory and vibration.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: left&quot;&gt;&lt;span class=&quot;captions&quot;&gt;&lt;br /&gt;Deep Interval I - A440 / G392 &lt;br /&gt;2026&lt;br /&gt;Acrylic, fluorescent glaze, zinc veils, airbrushed pigment, and polished optical surface on canvas 12 × 12 in. / 30.5 × 30.5 cm&lt;br /&gt;Deep Interval I is the first work in the Deep Intervals series, an extension of the artist’s personal system translating musical notes and frequencies into colour relationships.&lt;br /&gt;A = 440 Hz - Blue  G = 392 Hz - Green&lt;br /&gt;Blue represents A (440 Hz). Green represents G (392 Hz).&lt;br /&gt;Built through multiple translucent layers of fluorescent pigment, zinc veils, airbrushed colour, and polished surfaces, the work shifts the interval from a division of the pictorial plane into an illusion of internal depth. The inner luminous fields appear suspended beneath the surface, receding into one another as light and viewing angle change.&lt;br /&gt;Rather than representing sound directly, Deep Intervals explores the interval as a spatial condition - a distance between frequencies translated into colour, depth, and optical resonance&lt;/span&gt;&lt;/div&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Interval IV – E/G♯&lt;br /&gt;2026&lt;br /&gt;10 × 10 in. (25.4 × 25.4 cm)&lt;br /&gt;Acrylic, fluorescent glazing, layered pigments, repeated sanding, polishing, and hand-finished optical surface on canvas.&lt;br /&gt;Part of the ongoing Intervals series.&lt;br /&gt;Based on my personal system translating musical notes into colour relationships, Interval IV – E/G♯ investigates how harmonic intervals can exist through colour rather than sound.&lt;br /&gt;The composition is built from precisely balanced colour fields that appear both stable and in motion. Repeated translucent glazing, fluorescent pigments, sanding, and hand-polishing create subtle optical depth, allowing the inner forms to shift as light and the viewer’s position change.&lt;br /&gt;Rather than illustrating music, the painting explores the visual equivalent of resonance. The relationship between E and G♯ is translated into colour, proportion, and spatial tension, inviting the viewer to experience harmony as something perceived rather than heard.&lt;br /&gt;The work exists between geometry and atmosphere, where colour functions as frequency, memory, and light.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Interval IV – E/G♯&lt;br /&gt;2026&lt;br /&gt;10 × 10 in. (25.4 × 25.4 cm)&lt;br /&gt;Acrylic, fluorescent glazing, layered pigments, repeated sanding, polishing, and hand-finished optical surface on canvas.&lt;br /&gt;Part of the ongoing Intervals series.&lt;br /&gt;Based on my personal system translating musical notes into colour relationships, Interval IV – E/G♯ investigates how harmonic intervals can exist through colour rather than sound.&lt;br /&gt;The composition is built from precisely balanced colour fields that appear both stable and in motion. Repeated translucent glazing, fluorescent pigments, sanding, and hand-polishing create subtle optical depth, allowing the inner forms to shift as light and the viewer’s position change.&lt;br /&gt;Rather than illustrating music, the painting explores the visual equivalent of resonance. The relationship between E and G♯ is translated into colour, proportion, and spatial tension, inviting the viewer to experience harmony as something perceived rather than heard.&lt;br /&gt;The work exists between geometry and atmosphere, where colour functions as frequency, memory, and light.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: left&quot;&gt;&lt;span class=&quot;captions&quot;&gt;&lt;br /&gt;Deep Interval I - A440 / G392 &lt;br /&gt;2026&lt;br /&gt;Acrylic, fluorescent glaze, zinc veils, airbrushed pigment, and polished optical surface on canvas 12 × 12 in. / 30.5 × 30.5 cm&lt;br /&gt;Deep Interval I is the first work in the Deep Intervals series, an extension of the artist’s personal system translating musical notes and frequencies into colour relationships.&lt;br /&gt;A = 440 Hz - Blue  G = 392 Hz - Green&lt;br /&gt;Blue represents A (440 Hz). Green represents G (392 Hz).&lt;br /&gt;Built through multiple translucent layers of fluorescent pigment, zinc veils, airbrushed colour, and polished surfaces, the work shifts the interval from a division of the pictorial plane into an illusion of internal depth. The inner luminous fields appear suspended beneath the surface, receding into one another as light and viewing angle change.&lt;br /&gt;Rather than representing sound directly, Deep Intervals explores the interval as a spatial condition - a distance between frequencies translated into colour, depth, and optical resonance.&lt;/span&gt;&lt;/div&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Still Interval&lt;br /&gt;
2026&lt;br /&gt;
48 × 60 in. (121.9 × 152.4 cm)&lt;br /&gt;
Acrylic, fluorescent pigments, airbrush, glazing, sponge application, brushwork, repeated sanding, polishing, and hand-finished surface on canvas.&lt;br /&gt;
Created for a private collection in Miami.&lt;br /&gt;
Still Interval is part of my ongoing Intervals series, where colour functions as emotional resonance rather than representation. Rather than depicting a landscape or an object, the painting explores the space between memory, silence, and transformation.&lt;br /&gt;
Built through dozens of transparent layers, the surface was developed using brushes, fine-detail brushes, airbrush, sponge application, and repeated glazing. Each stage was followed by sanding and polishing before the next layer was added, allowing light to travel through the paint rather than remain on its surface. The final hand-polished finish creates optical depth that changes with movement and surrounding light.&lt;br /&gt;
Nothing in the composition is fully defined. Forms emerge, dissolve, and reappear beneath successive layers, inviting the viewer to experience the painting gradually rather than all at once. Instead of presenting a fixed narrative, Still Interval leaves space for personal interpretation, where colour becomes memory, atmosphere, and emotional presence.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Still Interval&lt;br /&gt;
2026&lt;br /&gt;
48 × 60 in. (121.9 × 152.4 cm)&lt;br /&gt;
Acrylic, fluorescent pigments, airbrush, glazing, sponge application, brushwork, repeated sanding, polishing, and hand-finished surface on canvas.&lt;br /&gt;
Created for a private collection in Miami.&lt;br /&gt;
Still Interval is part of my ongoing Intervals series, where colour functions as emotional resonance rather than representation. Rather than depicting a landscape or an object, the painting explores the space between memory, silence, and transformation.&lt;br /&gt;
Built through dozens of transparent layers, the surface was developed using brushes, fine-detail brushes, airbrush, sponge application, and repeated glazing. Each stage was followed by sanding and polishing before the next layer was added, allowing light to travel through the paint rather than remain on its surface. The final hand-polished finish creates optical depth that changes with movement and surrounding light.&lt;br /&gt;
Nothing in the composition is fully defined. Forms emerge, dissolve, and reappear beneath successive layers, inviting the viewer to experience the painting gradually rather than all at once. Instead of presenting a fixed narrative, Still Interval leaves space for personal interpretation, where colour becomes memory, atmosphere, and emotional presence.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Interval II – F/A&lt;br /&gt;2026&lt;br /&gt;21 × 18 in. (53.3 × 45.7 cm)&lt;br /&gt;Acrylic, fluorescent glazing, layered pigments, repeated sanding, polishing, and hand-finished optical surface on canvas.&lt;br /&gt;Part of the Intervals series.&lt;br /&gt;Based on my personal system translating musical notes into colour relationships, Interval II – F/A explores the resonance created between two notes through colour rather than sound.&lt;br /&gt;The deep ultramarine upper field represents A (440 Hz), while the warm lower register references F (≈349.23 Hz). Unlike a literal landscape, the lower field was intentionally developed to evoke the surface of aged wood—the body of a violin, piano, or cello—where sound is carried not only by strings, but by the material itself.&lt;br /&gt;Built through repeated glazing, sanding, and hand-polishing, the painting develops optical depth that changes with light and viewing angle. Rather than depicting an instrument, the work evokes its presence through colour, surface, and resonance.&lt;br /&gt;The painting exists in the quiet space between sound and silence, where colour begins to behave like memory and vibration.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Gladiolus in D — Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic, polished surface 10 × 10 in&lt;br /&gt;
Gladiolus in D belongs to Memory Garden, an ongoing body of work exploring the instability of childhood memory through photography, color, sound, and material.&lt;br /&gt;
The image originates in the garden of my childhood, where I grew gladiolus among other flowers. Rather than reconstructing that place literally, I return to it through fragments: botanical imagery, remembered color, and the internal correspondence between musical pitch and color that has accompanied me since childhood.&lt;br /&gt;
In this work, the memory is associated with the note D and with orange — a color that held an almost obsessive significance for me as a child. The floral image is produced through cyanotype on silk and embedded beneath translucent layers of acrylic. Each layer is worked and polished until the surface acquires a reflective, almost glass-like depth, leaving the photographic image suspended somewhere between visibility and disappearance.&lt;br /&gt;
The work treats memory not as a fixed record, but as something repeatedly reconstructed: altered by time, sensation, and the act of remembering itself. The gladiolus remains recognizable, yet appears removed from ordinary time — closer to an afterimage, an archaeological trace, or a photograph whose original moment can no longer be fully recovered.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Gladiolus in D — Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic, polished surface 10 × 10 in&lt;br /&gt;
Gladiolus in D belongs to Memory Garden, an ongoing body of work exploring the instability of childhood memory through photography, color, sound, and material.&lt;br /&gt;
The image originates in the garden of my childhood, where I grew gladiolus among other flowers. Rather than reconstructing that place literally, I return to it through fragments: botanical imagery, remembered color, and the internal correspondence between musical pitch and color that has accompanied me since childhood.&lt;br /&gt;
In this work, the memory is associated with the note D and with orange — a color that held an almost obsessive significance for me as a child. The floral image is produced through cyanotype on silk and embedded beneath translucent layers of acrylic. Each layer is worked and polished until the surface acquires a reflective, almost glass-like depth, leaving the photographic image suspended somewhere between visibility and disappearance.&lt;br /&gt;
The work treats memory not as a fixed record, but as something repeatedly reconstructed: altered by time, sensation, and the act of remembering itself. The gladiolus remains recognizable, yet appears removed from ordinary time — closer to an afterimage, an archaeological trace, or a photograph whose original moment can no longer be fully recovered.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Gladiolus in D — Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic, polished surface 10 × 10 in&lt;br /&gt;
Gladiolus in D belongs to Memory Garden, an ongoing body of work exploring the instability of childhood memory through photography, color, sound, and material.&lt;br /&gt;
The image originates in the garden of my childhood, where I grew gladiolus among other flowers. Rather than reconstructing that place literally, I return to it through fragments: botanical imagery, remembered color, and the internal correspondence between musical pitch and color that has accompanied me since childhood.&lt;br /&gt;
In this work, the memory is associated with the note D and with orange — a color that held an almost obsessive significance for me as a child. The floral image is produced through cyanotype on silk and embedded beneath translucent layers of acrylic. Each layer is worked and polished until the surface acquires a reflective, almost glass-like depth, leaving the photographic image suspended somewhere between visibility and disappearance.&lt;br /&gt;
The work treats memory not as a fixed record, but as something repeatedly reconstructed: altered by time, sensation, and the act of remembering itself. The gladiolus remains recognizable, yet appears removed from ordinary time — closer to an afterimage, an archaeological trace, or a photograph whose original moment can no longer be fully recovered.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Gladiolus in D — Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic, polished surface 10 × 10 in&lt;br /&gt;
Gladiolus in D belongs to Memory Garden, an ongoing body of work exploring the instability of childhood memory through photography, color, sound, and material.&lt;br /&gt;
The image originates in the garden of my childhood, where I grew gladiolus among other flowers. Rather than reconstructing that place literally, I return to it through fragments: botanical imagery, remembered color, and the internal correspondence between musical pitch and color that has accompanied me since childhood.&lt;br /&gt;
In this work, the memory is associated with the note D and with orange — a color that held an almost obsessive significance for me as a child. The floral image is produced through cyanotype on silk and embedded beneath translucent layers of acrylic. Each layer is worked and polished until the surface acquires a reflective, almost glass-like depth, leaving the photographic image suspended somewhere between visibility and disappearance.&lt;br /&gt;
The work treats memory not as a fixed record, but as something repeatedly reconstructed: altered by time, sensation, and the act of remembering itself. The gladiolus remains recognizable, yet appears removed from ordinary time — closer to an afterimage, an archaeological trace, or a photograph whose original moment can no longer be fully recovered.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Sunflower F/G from the Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 12 × 16 in&lt;br /&gt;
Sunflower F/G is part of Memory Garden, an ongoing body of work in which I reconstruct childhood memory through botanical image, color, sound, and material process.&lt;br /&gt;
The work begins with the image of a sunflower — a motif tied to the garden of my childhood and to the emotional geography of memory. Rather than presenting the flower as a stable subject, I treat it as a fragment recalled through sensation: partially veiled, suspended, and altered by time. In this piece, memory is structured through the interval F/G, continuing my broader exploration of the relationship between musical perception and color.&lt;br /&gt;
A cyanotype print on silk is embedded beneath multiple translucent acrylic layers, each built and hand-polished to create depth, reflectivity, and a shifting sense of presence. The surface behaves almost like a threshold: depending on light and viewing angle, the image moves between opacity and transparency, concealment and revelation.&lt;br /&gt;
This instability is central to the work. Memory, in Memory Garden, is not documentary. It is layered, reconstructed, and continually revised. The sunflower appears less as a botanical study than as an afterimage — something intimate yet distant, preserved but never fully recoverable. Through the fusion of photographic process, textile delicacy, and polished acrylic depth, the work holds memory in a state of suspension between image, object, and reflection.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Sunflower F/G from the Memory Garden series  2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 12 × 16 in&lt;br /&gt;
Sunflower F/G is part of Memory Garden, an ongoing body of work in which I reconstruct childhood memory through botanical image, color, sound, and material process.&lt;br /&gt;
The work begins with the image of a sunflower — a motif tied to the garden of my childhood and to the emotional geography of memory. Rather than presenting the flower as a stable subject, I treat it as a fragment recalled through sensation: partially veiled, suspended, and altered by time. In this piece, memory is structured through the interval F/G, continuing my broader exploration of the relationship between musical perception and color.&lt;br /&gt;
A cyanotype print on silk is embedded beneath multiple translucent acrylic layers, each built and hand-polished to create depth, reflectivity, and a shifting sense of presence. The surface behaves almost like a threshold: depending on light and viewing angle, the image moves between opacity and transparency, concealment and revelation.&lt;br /&gt;
This instability is central to the work. Memory, in Memory Garden, is not documentary. It is layered, reconstructed, and continually revised. The sunflower appears less as a botanical study than as an afterimage — something intimate yet distant, preserved but never fully recoverable. Through the fusion of photographic process, textile delicacy, and polished acrylic depth, the work holds memory in a state of suspension between image, object, and reflection.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Sunflower F/G from the Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 12 × 16 in&lt;br /&gt;
Sunflower F/G is part of Memory Garden, an ongoing body of work in which I reconstruct childhood memory through botanical image, color, sound, and material process.&lt;br /&gt;
The work begins with the image of a sunflower — a motif tied to the garden of my childhood and to the emotional geography of memory. Rather than presenting the flower as a stable subject, I treat it as a fragment recalled through sensation: partially veiled, suspended, and altered by time. In this piece, memory is structured through the interval F/G, continuing my broader exploration of the relationship between musical perception and color.&lt;br /&gt;
A cyanotype print on silk is embedded beneath multiple translucent acrylic layers, each built and hand-polished to create depth, reflectivity, and a shifting sense of presence. The surface behaves almost like a threshold: depending on light and viewing angle, the image moves between opacity and transparency, concealment and revelation.&lt;br /&gt;
This instability is central to the work. Memory, in Memory Garden, is not documentary. It is layered, reconstructed, and continually revised. The sunflower appears less as a botanical study than as an afterimage — something intimate yet distant, preserved but never fully recoverable. Through the fusion of photographic process, textile delicacy, and polished acrylic depth, the work holds memory in a state of suspension between image, object, and reflection.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Dahlia  A♭ / A♯ &lt;br /&gt;
  from the Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 10 × 10 in&lt;br /&gt;
A♭ / A♯ — Dahlia is part of Memory Garden, an ongoing body of work in which I explore childhood memory through botanical imagery, color, sound, and layered material process.&lt;br /&gt;
The work is structured around the proximity of two notes — A-flat and A-sharp — which occupy nearly the same sonic space while remaining fundamentally distinct. In my practice, where color and sound are closely linked, this relationship becomes a way of thinking about perception itself: closeness without sameness, resemblance without resolution. The dahlia becomes the vessel through which that tension is made visible.&lt;br /&gt;
A cyanotype image on silk is embedded beneath multiple translucent layers of acrylic, each gradually built and hand-polished into a reflective surface. Through this process, the floral image is partially submerged within depth, appearing and receding according to light, angle, and distance. The work shifts between opacity and transparency, image and reflection, presence and withdrawal.&lt;br /&gt;
This instability is central to the piece. Rather than presenting memory as something fixed or fully recoverable, A♭ / A♯ — Dahlia treats it as layered, perceptual, and continuously reconstructed. The flower does not function as a botanical study alone, but as an afterimage: intimate, elusive, and suspended between recognition and disappearance. Through the fusion of cyanotype, silk, and polished acrylic, the work holds memory in a state of visual and emotional resonance.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/N3115481160802763064913614685115/IMG_2326.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Dahlia  A♭ / A♯ &lt;br /&gt;  from the Memory Garden series 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 10 × 10 in&lt;br /&gt;A♭ / A♯ — Dahlia is part of Memory Garden, an ongoing body of work in which I explore childhood memory through botanical imagery, color, sound, and layered material process.&lt;br /&gt;The work is structured around the proximity of two notes — A-flat and A-sharp — which occupy nearly the same sonic space while remaining fundamentally distinct. In my practice, where color and sound are closely linked, this relationship becomes a way of thinking about perception itself: closeness without sameness, resemblance without resolution. The dahlia becomes the vessel through which that tension is made visible.&lt;br /&gt;A cyanotype image on silk is embedded beneath multiple translucent layers of acrylic, each gradually built and hand-polished into a reflective surface. Through this process, the floral image is partially submerged within depth, appearing and receding according to light, angle, and distance. The work shifts between opacity and transparency, image and reflection, presence and withdrawal.&lt;br /&gt;This instability is central to the piece. Rather than presenting memory as something fixed or fully recoverable, A♭ / A♯ — Dahlia treats it as layered, perceptual, and continuously reconstructed. The flower does not function as a botanical study alone, but as an afterimage: intimate, elusive, and suspended between recognition and disappearance. Through the fusion of cyanotype, silk, and polished acrylic, the work holds memory in a state of visual and emotional resonance.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/F3115486733914635869969639359419/IMG_3269.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Memory Garden – Iris 2026 &lt;br /&gt;
Cyanotype on silk,  layered acrylic on canvas,  polished surface 24 × 36 in&lt;br /&gt;
Memory Garden – Iris is part of an ongoing body of work in which I reconstruct childhood memory through botanical image, color, and layered material process. The work draws on recollections of the landscape of my childhood — in particular a marsh-like garden space filled with irises, water, grasses, and overgrown vegetation — a place that persists in memory less as a fixed image than as an atmosphere.&lt;br /&gt;
In this piece, the iris becomes both subject and threshold. Suspended between an amber upper field and a cooler blue lower register, the image suggests a shifting relationship between air and water, surface and depth, presence and reflection. The composition does not describe a landscape directly; instead, it evokes the instability of remembrance, where fragments of place return in altered form.&lt;br /&gt;
A cyanotype print on silk is embedded beneath multiple translucent layers of acrylic, each gradually built and hand-polished into a reflective surface. Through this process, the image remains partially submerged within the painting, appearing and receding according to light, angle, and distance. The polished surface functions not only as finish, but as structure: it creates a space in which memory is held in suspension, never fully fixed and never entirely lost.&lt;br /&gt;
Like the broader Memory Garden series, this work approaches memory as something materially reconstructed rather than passively recalled. The iris is preserved not as a botanical record, but as an afterimage — intimate, atmospheric, and shaped by time. Through the fusion of cyanotype, silk, and luminous acrylic depth, the work transforms personal recollection into a space of visual resonance, where image, reflection, and emotional memory coexist.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/A3115486733969976102190768014267/IMG_3284.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Memory Garden – Iris 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 24 × 36 in&lt;br /&gt;
Memory Garden – Iris is part of an ongoing body of work in which I reconstruct childhood memory through botanical image, color, and layered material process. The work draws on recollections of the landscape of my childhood — in particular a marsh-like garden space filled with irises, water, grasses, and overgrown vegetation — a place that persists in memory less as a fixed image than as an atmosphere.&lt;br /&gt;
In this piece, the iris becomes both subject and threshold. Suspended between an amber upper field and a cooler blue lower register, the image suggests a shifting relationship between air and water, surface and depth, presence and reflection. The composition does not describe a landscape directly; instead, it evokes the instability of remembrance, where fragments of place return in altered form.&lt;br /&gt;
A cyanotype print on silk is embedded beneath multiple translucent layers of acrylic, each gradually built and hand-polished into a reflective surface. Through this process, the image remains partially submerged within the painting, appearing and receding according to light, angle, and distance. The polished surface functions not only as finish, but as structure: it creates a space in which memory is held in suspension, never fully fixed and never entirely lost.&lt;br /&gt;
Like the broader Memory Garden series, this work approaches memory as something materially reconstructed rather than passively recalled. The iris is preserved not as a botanical record, but as an afterimage — intimate, atmospheric, and shaped by time. Through the fusion of cyanotype, silk, and luminous acrylic depth, the work transforms personal recollection into a space of visual resonance, where image, reflection, and emotional memory coexist.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/A3115486733933082614043348911035/IMG_3270.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Memory Garden – Iris 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 24 × 36 in&lt;br /&gt;
Memory Garden – Iris is part of an ongoing body of work in which I reconstruct childhood memory through botanical image, color, and layered material process. The work draws on recollections of the landscape of my childhood — in particular a marsh-like garden space filled with irises, water, grasses, and overgrown vegetation — a place that persists in memory less as a fixed image than as an atmosphere.&lt;br /&gt;
In this piece, the iris becomes both subject and threshold. Suspended between an amber upper field and a cooler blue lower register, the image suggests a shifting relationship between air and water, surface and depth, presence and reflection. The composition does not describe a landscape directly; instead, it evokes the instability of remembrance, where fragments of place return in altered form.&lt;br /&gt;
A cyanotype print on silk is embedded beneath multiple translucent layers of acrylic, each gradually built and hand-polished into a reflective surface. Through this process, the image remains partially submerged within the painting, appearing and receding according to light, angle, and distance. The polished surface functions not only as finish, but as structure: it creates a space in which memory is held in suspension, never fully fixed and never entirely lost.&lt;br /&gt;
Like the broader Memory Garden series, this work approaches memory as something materially reconstructed rather than passively recalled. The iris is preserved not as a botanical record, but as an afterimage — intimate, atmospheric, and shaped by time. Through the fusion of cyanotype, silk, and luminous acrylic depth, the work transforms personal recollection into a space of visual resonance, where image, reflection, and emotional memory coexist.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/C3115486733767061917379962946491/IMG_3268.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Memory Garden – Iris 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, polished surface 24 × 36 in&lt;br /&gt;
Memory Garden – Iris is part of an ongoing body of work in which I reconstruct childhood memory through botanical image, color, and layered material process. The work draws on recollections of the landscape of my childhood — in particular a marsh-like garden space filled with irises, water, grasses, and overgrown vegetation — a place that persists in memory less as a fixed image than as an atmosphere.&lt;br /&gt;
In this piece, the iris becomes both subject and threshold. Suspended between an amber upper field and a cooler blue lower register, the image suggests a shifting relationship between air and water, surface and depth, presence and reflection. The composition does not describe a landscape directly; instead, it evokes the instability of remembrance, where fragments of place return in altered form.&lt;br /&gt;
A cyanotype print on silk is embedded beneath multiple translucent layers of acrylic, each gradually built and hand-polished into a reflective surface. Through this process, the image remains partially submerged within the painting, appearing and receding according to light, angle, and distance. The polished surface functions not only as finish, but as structure: it creates a space in which memory is held in suspension, never fully fixed and never entirely lost.&lt;br /&gt;
Like the broader Memory Garden series, this work approaches memory as something materially reconstructed rather than passively recalled. The iris is preserved not as a botanical record, but as an afterimage — intimate, atmospheric, and shaped by time. Through the fusion of cyanotype, silk, and luminous acrylic depth, the work transforms personal recollection into a space of visual resonance, where image, reflection, and emotional memory coexist.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/O3115490651375887827372277842875/IMG_2830.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Bellflowers F/B &lt;br /&gt;Memory Garden  —  is part of an ongoing body of work in which I reconstruct childhood memory through botanical imagery, color, sound, and material process.&lt;br /&gt;The bellflowers in this work are connected to my grandmother, who loved them. Their presence is therefore not simply botanical, but personal: they function as a fragment of remembered affection, carried forward through image and material. The work does not attempt to reproduce a specific moment. Instead, it holds the emotional residue of that memory — something familiar, intimate, and increasingly difficult to locate precisely in time.&lt;br /&gt;The composition is structured through the notes F and B, continuing my exploration of the relationship between musical pitch and color. These chromatic fields overlap and recede across the surface, creating a visual interval in which the floral image appears only partially, as though emerging from behind layers of recollection.&lt;br /&gt;A cyanotype print on silk is embedded beneath translucent layers of acrylic and gradually hand-polished into a reflective surface. Light activates the work continuously: botanical forms appear, disappear, and shift as the viewer moves around it. The image is never entirely stable.&lt;br /&gt;Within Memory Garden, this process becomes a metaphor for remembering itself. The bellflowers survive not as a complete record, but as an afterimage — a trace of a person, a place, and an emotion preserved somewhere between color, fabric, reflection, and time.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/B3115490651357441083298568291259/40883343-46B0-4D89-BEFE-60AFB465233D.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Bellflowers F/B &lt;br /&gt;Memory Garden  —  is part of an ongoing body of work in which I reconstruct childhood memory through botanical imagery, color, sound, and material process.&lt;br /&gt;The bellflowers in this work are connected to my grandmother, who loved them. Their presence is therefore not simply botanical, but personal: they function as a fragment of remembered affection, carried forward through image and material. The work does not attempt to reproduce a specific moment. Instead, it holds the emotional residue of that memory — something familiar, intimate, and increasingly difficult to locate precisely in time.&lt;br /&gt;The composition is structured through the notes F and B, continuing my exploration of the relationship between musical pitch and color. These chromatic fields overlap and recede across the surface, creating a visual interval in which the floral image appears only partially, as though emerging from behind layers of recollection.&lt;br /&gt;A cyanotype print on silk is embedded beneath translucent layers of acrylic and gradually hand-polished into a reflective surface. Light activates the work continuously: botanical forms appear, disappear, and shift as the viewer moves around it. The image is never entirely stable.&lt;br /&gt;Within Memory Garden, this process becomes a metaphor for remembering itself. The bellflowers survive not as a complete record, but as an afterimage — a trace of a person, a place, and an emotion preserved somewhere between color, fabric, reflection, and time.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/V3115490651154526898487763223483/63C83C20-0262-4894-A845-FE110F0AC0C3.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Bellflowers F/B &lt;br /&gt;Memory Garden  —  is part of an ongoing body of work in which I reconstruct childhood memory through botanical imagery, color, sound, and material process.&lt;br /&gt;The bellflowers in this work are connected to my grandmother, who loved them. Their presence is therefore not simply botanical, but personal: they function as a fragment of remembered affection, carried forward through image and material. The work does not attempt to reproduce a specific moment. Instead, it holds the emotional residue of that memory — something familiar, intimate, and increasingly difficult to locate precisely in time.&lt;br /&gt;The composition is structured through the notes F and B, continuing my exploration of the relationship between musical pitch and color. These chromatic fields overlap and recede across the surface, creating a visual interval in which the floral image appears only partially, as though emerging from behind layers of recollection.&lt;br /&gt;A cyanotype print on silk is embedded beneath translucent layers of acrylic and gradually hand-polished into a reflective surface. Light activates the work continuously: botanical forms appear, disappear, and shift as the viewer moves around it. The image is never entirely stable.&lt;br /&gt;Within Memory Garden, this process becomes a metaphor for remembering itself. The bellflowers survive not as a complete record, but as an afterimage — a trace of a person, a place, and an emotion preserved somewhere between color, fabric, reflection, and time.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/V3115490651394334571445987394491/IMG_2856.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Bellflowers F/B &lt;br /&gt;
Memory Garden  —  is part of an ongoing body of work in which I reconstruct childhood memory through botanical imagery, color, sound, and material process.&lt;br /&gt;
The bellflowers in this work are connected to my grandmother, who loved them. Their presence is therefore not simply botanical, but personal: they function as a fragment of remembered affection, carried forward through image and material. The work does not attempt to reproduce a specific moment. Instead, it holds the emotional residue of that memory — something familiar, intimate, and increasingly difficult to locate precisely in time.&lt;br /&gt;
The composition is structured through the notes F and B, continuing my exploration of the relationship between musical pitch and color. These chromatic fields overlap and recede across the surface, creating a visual interval in which the floral image appears only partially, as though emerging from behind layers of recollection.&lt;br /&gt;
A cyanotype print on silk is embedded beneath translucent layers of acrylic and gradually hand-polished into a reflective surface. Light activates the work continuously: botanical forms appear, disappear, and shift as the viewer moves around it. The image is never entirely stable.&lt;br /&gt;
Within Memory Garden, this process becomes a metaphor for remembering itself. The bellflowers survive not as a complete record, but as an afterimage — a trace of a person, a place, and an emotion preserved somewhere between color, fabric, reflection, and time.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/R3115490651431228059593406497723/IMG_2858.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Bellflowers F/B &lt;br /&gt;Memory Garden  —  is part of an ongoing body of work in which I reconstruct childhood memory through botanical imagery, color, sound, and material process.&lt;br /&gt;The bellflowers in this work are connected to my grandmother, who loved them. Their presence is therefore not simply botanical, but personal: they function as a fragment of remembered affection, carried forward through image and material. The work does not attempt to reproduce a specific moment. Instead, it holds the emotional residue of that memory — something familiar, intimate, and increasingly difficult to locate precisely in time.&lt;br /&gt;The composition is structured through the notes F and B, continuing my exploration of the relationship between musical pitch and color. These chromatic fields overlap and recede across the surface, creating a visual interval in which the floral image appears only partially, as though emerging from behind layers of recollection.&lt;br /&gt;A cyanotype print on silk is embedded beneath translucent layers of acrylic and gradually hand-polished into a reflective surface. Light activates the work continuously: botanical forms appear, disappear, and shift as the viewer moves around it. The image is never entirely stable.&lt;br /&gt;Within Memory Garden, this process becomes a metaphor for remembering itself. The bellflowers survive not as a complete record, but as an afterimage — a trace of a person, a place, and an emotion preserved somewhere between color, fabric, reflection, and time.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/X3115501926302566839755868816315/IMG_2537.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Memory Garden F/G 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, hand-polished surface Private Collection, Los Angeles&lt;br /&gt;
Memory Garden F/G is a commissioned, site-specific work created for a private collection in Los Angeles. Rather than beginning with a universal botanical motif, the piece was developed from plants and visual references connected directly to the collector’s own environment, transforming the work into a portrait of place through memory, color, and material.&lt;br /&gt;
The composition is organized through the notes F and G, continuing my ongoing investigation of the relationship between musical pitch and color. Two large chromatic fields divide the surface while botanical fragments move through and beneath them, creating a tension between abstraction and recognition.&lt;br /&gt;
The photographic imagery was translated into cyanotype on silk and embedded beneath multiple translucent layers of acrylic. Each layer was built gradually and hand-polished, producing a reflective depth in which the image changes according to light and viewing angle. At moments the plants become clearly visible; at others they dissolve almost completely into color.&lt;br /&gt;
Although the work belongs to the broader Memory Garden series, its source material makes it distinctly personal. Here, the idea of memory expands beyond my own childhood archive and becomes a collaborative structure: the visual language of the series is used to preserve another person’s relationship to a specific place.&lt;br /&gt;
The resulting work exists between painting, photographic object, and personal archive — not simply representing a garden, but translating a lived environment into a suspended field of color, reflection, and memory.&lt;/span&gt;</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P3115501926450140792345545229243/IMG_2539.jpg</image:loc>
                                            <image:caption>&lt;span class=&quot;captions&quot;&gt;Memory Garden F/G 2026 &lt;br /&gt;
Cyanotype on silk, layered acrylic on canvas, hand-polished surface Private Collection, Los Angeles&lt;br /&gt;
Memory Garden F/G is a commissioned, site-specific work created for a private collection in Los Angeles. Rather than beginning with a universal botanical motif, the piece was developed from plants and visual references connected directly to the collector’s own environment, transforming the work into a portrait of place through memory, color, and material.&lt;br /&gt;
The composition is organized through the notes F and G, continuing my ongoing investigation of the relationship between musical pitch and color. Two large chromatic fields divide the surface while botanical fragments move through and beneath them, creating a tension between abstraction and recognition.&lt;br /&gt;
The photographic imagery was translated into cyanotype on silk and embedded beneath multiple translucent layers of acrylic. Each layer was built gradually and hand-polished, producing a reflective depth in which the image changes according to light and viewing angle. At moments the plants become clearly visible; at others they dissolve almost completely into color.&lt;br /&gt;
Although the work belongs to the broader Memory Garden series, its source material makes it distinctly personal. Here, the idea of memory expands beyond my own childhood archive and becomes a collaborative structure: the visual language of the series is used to preserve another person’s relationship to a specific place.&lt;br /&gt;
The resulting work exists between painting, photographic object, and personal archive — not simply representing a garden, but translating a lived environment into a suspended field of color, reflection, and memory.&lt;/span&gt;</image:caption>
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                        <loc>https://bardykinstudio.com/about</loc>
            
            
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