Danica Firulovic’s all-white paintings in square formats have been guided by an interest in reductive, non-objective art and the emotion evoked by the predominance of white. Close inspection of the works reveals evidence of the artist’s hand, in the smooth brush strokes and the lines meticulously drawn with pencil. The outer edge of the support, often left bare and unpainted, is of equal importance as it frames the white-on-white geometric composition. The reduced palette creates insistent neutrality and connects with the unadulterated geometric shapes, which vary in tonal application and require slow engagement as the subtleness of white serves as a meditative distraction.