This paper proposes chromatic pressure as a framework for understanding how colour density generates spatial force in contemporary abstract painting. Based on practice-led research in layered acrylic painting, the study examines how pigment accumulation, compression, and redistribution organise perceptual movement across the painted surface. Analysis of forty-three paintings identifies four recurring spatial regimes: vertical compression, axial direction, centrifugal expansion, and horizontal pressure. The paper argues that colour functions not only as visual or expressive form but as an active generator of spatial force within abstraction.
harmeet singh (Sat,) studied this question.