Painting

Molten Coronation

A furious cascade of gold, silver, and vermilion red commands this small canvas — swirling interference pigments collide with deep magenta and stark black voids that punch through the surface like windows into something deeper. The composition reads like a royal procession caught in a windstorm: ornate gilded scrollwork fighting against violent red currents, with jagged black star-shapes tearing through the right side like a crown being forged in real time. A border of magenta and purple marbling frames the bottom edge, rolling like waves beneath the metallic chaos above. This piece is built almost entirely with Golden Interference acrylics — the gold and silver tones you see here are not static. They shift dramatically depending on your viewing angle and the light source in the room. That silver field on the left can flash cool blue or warm pearl. The gold veining throughout catches warm light and throws it back at you like beaten metal. Even the magenta border carries an interference violet that deepens or brightens as you move past it. Photographs capture one frozen moment — this painting lives in the transitions between them. The texture here is heavily layered and physical. You can see in the close-up shots how the paint has been pushed, dragged, and folded into itself — ridges and valleys where gold rides over silver, where red was laid in wet and then carved through with rapid gestures. The black areas are raw and gritty, a textured ground layer peeking through where the interference layers were pulled away. This is rapid-form work — no planning, no sketching, just momentum and material reacting to each other in real time. Painted back in 2009 at my spot in Eastlake, Seattle, WA.