Helix C

This is a painting that owns the wall. At 48 by 72 inches, Stephen Wessells has unleashed a single, unbroken ribbon of thick off-white acrylic that loops, coils, and crashes across a cool charcoal field — corralling explosive bursts of signal red into forms that pulse with raw, unmistakable energy. The palette-knife impasto is visible and proud, ridge upon ridge of creamy white line carrying the physical memory of every decisive gesture Wessells made in the studio. This is not a painting that whispers; it commands. The red forms are the heartbeat of the piece — bold, organic tear-drop and elliptical shapes that sit behind the looping white line like something caught mid-flight. The tension between containment and escape is electric. Some forms are fully claimed by the line; others spill free, daring the eye to follow. The stark simplicity of the three-color palette only amplifies the drama, making this a work that reads with absolute clarity from across a large room — exactly the kind of presence that transforms a space. For the discerning collector, this painting represents Wessells at his most confident and distilled — a direct heir to the gestural freedom of Miró and the raw line-force of late-century abstraction, yet entirely his own voice. Large-format, high-impact, and singular in composition, this original acrylic is a serious acquisition for anyone building a collection of contemporary abstract work with lasting visual authority.