Painting

Kintsugi Cosmos

A deep black field fractures open with veins of gold and electric yellow, revealing clusters of iridescent dots that gather like star fields caught between the cracks. The composition reads like a cosmic map — or shattered obsidian repaired with light itself. Hundreds of individual interference dots in blue, green, violet, pink, and gold crowd into the fractured spaces, each one a tiny lens of shifting color against the void. The golden branching lines carry real dimensional weight, raised and textured where they crawl across the surface like lightning frozen in amber. This piece is built entirely with Golden Interference acrylics over a black background, which is where these paints truly come alive. Against dark surfaces, interference pigments generate their own color from reflected light rather than absorbed light. Every dot shifts — greens slide toward purple, blues ghost into copper, pinks warm toward gold — all depending on where you stand and how the light hits. The whole surface breathes differently under daylight versus lamplight, and the golden veining catches and throws light in a way that photographs can only hint at. The technique here layers deliberate dot work over rapid, gestural linework. The gold and yellow veins were laid down with speed and instinct — jagged, electric, unapologetic — while the dot clusters were built up with patience, each one placed individually to fill the fractured negative spaces. It's a conversation between control and chaos, between the meditative repetition of dotting and the raw energy of the cracked network that holds it all together. Painted at my homestead in Riverside, Washington, where the dark winter skies and fractured basalt geology find their way into everything I make.