Words by Velin

There is a certain kind of artist who does not chase the work but lets the work arrive. Not with urgency but with inevitability. Basel is one of those artists. His practice is not governed by formula or outcome. It is shaped by instinct and emotional current.

He begins with an idea. A whisper, not a blueprint. “You do need an idea,” he says, “but once I start working, things begin to move naturally.” The final result often moves beyond what he imagined. More honest. More evolved.

Basel’s process is not chaotic, but it is fluid. In his work, fluidity means something specific. It means trusting emotion over structure. Letting instinct make decisions that thought alone cannot.

Eternal Cycle and the Language of Shape and Color

His piece titled Eternal Cycle is a reflection of how he experiences creative movement. The work is divided into phases, rendered through three distinct shapes and tones. It begins with indigo circles—symbols of beginnings. Cool, vast, and quiet. “Indigo stands for the beginning,” he says. “The unknown, the quiet phase before starting a new journey.”

From there, the image shifts into rust red triangles. Sharp and warm. This is the moment of effort. The conflict that comes when we move into something new. Basel does not shy away from it. He leans into the friction. “It might have obstacles,” he explains, “but the passion and strength are what carry you through.”

The final stage settles into soft ivory squares. They bring stillness. “It is the peace after the storm,” he says. “A reflection of how far we’ve come.” This is where clarity lives. Not in conclusion, but in a sense of having endured. His piece does not chase complexity for its own sake. It breathes. And that is what his work consistently offers. Stillness that speaks.

Memory as Material: Enchanted Shade

In contrast, Enchanted Shade feels like a dream remembered in fragments. The piece draws from a moment in Jordan—a garden covered by a magical cloud that blocked the sun. Basel lets this story unfold not with literal detail but through atmosphere.

Yellows stretch across the surface like unreachable light. Purples hover, soft and strange. Greens ground the image. Rooted and alive. The composition balances form and memory. It invites the viewer to feel before they understand. He does not attempt to explain what he felt. He recreates the conditions for feeling it again.

The Weight of Making

Basel creates not to decorate. He creates to let something out. “It doesn’t add anything,” he says. “It just lets it out.” There is no spectacle in his practice. There is presence. A quiet insistence that making is necessary.

And though he creates for himself first, there is a quiet hope that others will see what he sees. “I really want the viewer to see my artwork from the same perspective I have,” he says. But he has also learned to let go of that expectation. “It’s something beautiful to see how others take in my work and what they see and think of it.”

He admits that even if no one saw the work, he would still create. A few years ago, that wouldn’t have been the case. But something has shifted. “I would love to keep doing it just for myself,” he says. Still, he acknowledges the challenge. “Most of my work is inspired by human interaction… so not having these experiences would make it quite harder.”

Art, for Basel, is made in response to the world. But even in isolation, the instinct to create would remain.