Painting

Evergreen Meridian

A dense, divided composition splits the canvas into two distinct worlds. On the left, deep maroon and burgundy swirl with luminous green tendrils in an almost botanical marbling pattern — ornate, swirling forms that recall wrought iron or frost on dark glass. The right side erupts with bold emerald green slashes, vivid red-orange paint gestures, and a constellation of thick silver interference droplets that sit proud off the surface. A horizontal band of green cuts across the middle like a horizon line or a divide between realms, anchoring the chaos above and below. The interference silver is the connective tissue of this piece. Those raised globular forms shift from bright silver to a soft pearlescent glow depending on your angle, while the underlying purple interference paint peeks through the green layers — you'll catch violet halos emerging between the emerald fields as you move past the canvas. The gold base layer warms everything from underneath, giving the green and red passages a richness they wouldn't have on white. Even the marbled burgundy section carries interference green through its veins, creating that signature color-shift that makes each viewing feel slightly different. This one came together fast and physical. The marbled left panel was laid down wet-into-wet with interference green dragged through deep red in quick, swirling pulls. The right side got built up in aggressive layers — green dragged with a palette knife, orange dropped in thick lines, then the silver interference piled on in deliberate, dimensional blobs and splatters. There's real topography here; those silver forms are almost sculptural, rising off the canvas with visible texture and concentric drying rings.