Winter Lake (2025) presents a solitary scene set in the winter of a frozen lake; this peacefulness and solitude are exemplified by the use of pastel, which creates a soft and warm work. The work itself is plein air, which gives this lake a much more personal connection from Markava, helping us see the scene through this work as though we were there. The location itself is imbued into it due to this process.
To the right side of the composition, we have the tree, which is collecting snow and is weighed to arc towards the centre. These guide us from the warm colours of the landscape below to the horizon and the skies. The sky is clear and mostly light blue and white, which exemplifies the coldness of the winter atmosphere, while the landscape, still with colour, contrasts this work as it is still alive and not barren.
Gate (2024) radiates with light from the first viewing of the work, from the sides of the gate itself reflecting sunlight to the yellows of the flora and the contrasts between the shadows. The gate thus invites us to step into the work – despite usually being something (due to the iron bars) that would keep you out, the warmth and lighting of this object instead have become inviting. The sun is filtered out towards us through the gate, drawing our eyes towards it, wondering what is beyond it.
Despite the stone wall being one that would conceal a building or an area; it fades into the paper in this work which gives it a much more organic appearance. Furthermore, the folliage above the gate creates a welcoming atmosphere to the work and crowns the entrance. The usage of pastel helps to turn this scene which would be one seen often by Markava (as it is her yard) into a dreamlike scene.