Painting

Lattice & Lava

A matched diptych built in mirrored bands — icy silver crosshatch up top, a roiling dark seam through the center, and molten orange grid-work along the bottom. The two panels sit side by side like twin windows into the same eruption, each one echoing the other but never quite identical. Deep plum-black forms drip downward between acid yellow tendrils and chartreuse flares, while the silver lattice above catches every shift of ambient light. It reads like a landscape torn in half — frozen sky over burning earth, with something volatile trapped between them. The interference acrylics are doing serious work in that upper silver zone and through the middle seam. The crosshatched sections shift from cool pearl to pale green to a faint pink depending on your angle, and the dark band between zones is loaded with tiny speckled highlights that flare when the light moves. The orange base has its own quiet shimmer — what looks like a flat, warm field in one photo reveals coppery interference glow in the macro shots. Even the chartreuse has an iridescent bite to it that photographs can only hint at. I built these two panels simultaneously, dragging a crosshatch tool through the wet interference layers on both canvases in the same motion. The dark central band is poured and manipulated — you can see fluid curls, spiral cells, and organic leaf-like shapes where the plum, yellow, and silver inks fought each other during curing. The orange lower section got the same crosshatch treatment as the top but with a completely different color load, creating this intentional structural rhyme between the two halves of each panel. The paint is thick, physical, built up in ridges you can feel. Painted at the homestead in Riverside, Washington — two panels meant to live together, carrying the heat of the high desert and the strange light that comes off the river at dusk.