Hush is one of my most technically disciplined portraits from this period, built around a close, direct gaze that holds the viewer in place. The chromatic structure is deliberate: saturated reds, greens, and blues map the form with precision rather than expressionism, shaping the planes of the face and hands through temperature and contrast.

The eyes carry twin intensities—one inward and reflective, the other sharply outward—creating a subtle tension without slipping into narrative. The hands anchor the lower half of the composition, functioning as structural elements that balance the weight of the portrait while adding dimensional realism.