Painting

Carnival in Crimson

A deep, saturated crimson field explodes with scattered constellations of interference paint — pearlescent whites, vivid ultramarine blues, electric chartreuse greens, and shimmering golds all thrown across the surface in a dense, celebratory chaos. The composition reads like confetti frozen mid-burst, with clusters of heavier activity gathering toward the center and lower portions while splatters and flung droplets scatter outward to the edges. There's a raw festivity to this piece, a sense of something erupting from that rich red ground. The interference acrylics perform dramatically against the warm crimson base. From straight on, the pearlescent layers shift between soft pink, icy lavender, and pale gold. Move to the side and those same passages turn opalescent — ghostly greens and cool blues emerge from what moments ago looked like simple white. The deep blue splatters anchor the shifting layers, while the lime green dots punch through with an almost fluorescent intensity that refuses to be quiet. This piece was built in rapid, physical passes — you can see where paint was pressed and dragged, where it was flung and where it landed on its own terms. The close-up views reveal thick, textured ridges where interference layers pooled and dried with real dimensional weight, the canvas weave pressing through in places to create an almost fossilized texture. The golden-bronze interference paint was laid down in broad sweeps before the blues and greens were thrown on top, creating a layered archaeology of gesture. Painted at my homestead in Riverside, Washington — a small piece carrying a lot of energy, made to shift and surprise every time the light changes in your room.