As a collector, standing before Ever Increasing Dance II by Caroline Boff feels less like viewing a painting and more like entering a charged atmosphere. The canvas is monumental—unapologetically large—and it uses that scale to full advantage. Bands and bursts of rainbow colour surge across the surface with an almost tidal rhythm, creating a sense of perpetual motion. The composition hums with energy; it doesn’t sit quietly on the wall but radiates outward, commanding the room. There is confidence in the sweep of line and the bold orchestration of colour, a kind of visual crescendo that makes the work feel alive.

What captivates me most is how deftly Boff nods to Henri Matisse—particularly the sinuous forms of Blue Nudes and the ecstatic circularity of Dance—while asserting her own unmistakable voice. The figures and shapes in Ever Increasing Dance II seem to expand and spiral, suggesting choreography that grows ever more complex, ever more liberated. Knowing Boff’s history as a dancer, one senses that this is not mere reference but embodied memory translated into paint. The gestures feel rehearsed yet spontaneous, disciplined yet exuberant. As a companion to the first in the series, it doesn’t simply echo—it amplifies. Owning a work of this scale and vitality is to live with movement itself, suspended in colour and space.