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In Untitled III (Bethany), Henry Ward reduces the figure to its most elemental contours. A thick, looping black line suggests the outline of a head, its form at once direct and ambiguous. The background is divided into bold, flat planes of colour—olive green, dusty pink, ochre, and off-white—that lend the composition a graphic clarity while resisting full legibility. The painting hovers between abstraction and portraiture, with just enough visual cues to evoke presence without defining it. Ward’s use of colour and gesture invites the viewer to pause and consider the emotional weight of a form that refuses to settle.
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