Painting

Night Circuit

A dense grid of electric marks pulses against a deep black field. Chartreuse slashes cut horizontally and vertically in a woven, basket-like pattern, while dots of interference silver, violet, and rose punctuate the intersections like data points on a dark motherboard. The entire composition is framed by a rhythmic border of bold teal and fluorescent red dots alternating with shimmering interference pink — a dotted perimeter that holds the frenetic interior energy in check. The interference pigments in this piece are working overtime against that black ground. The silver dots shift from ghostly white to a pale blue depending on your angle. The violet marks swing between deep purple and a subtle copper. That border of teal holds steady in direct light but catches an unexpected green-gold flash when you walk past. Even the dark field itself carries interference undertones — swirls of bronze and gold shimmer through the black like circuitry beneath a surface. This was built in rapid layers — the black ground went down first, thick and textured, then the interference washes while still wet to create those embedded swirl patterns. The chartreuse grid was laid down fast with a loaded brush, almost like writing. Then the dot work: silver, violet, pink, red, teal, orange — each placed with intention but at speed, building up a visual frequency across the surface. The macro shots show the physicality of it — raised paint, tiny craters in the ground, the way each dot sits proud of the canvas. Painted at the homestead in Riverside, Washington — the kind of piece that comes out of a late session when the dark outside matches the dark on the canvas and everything electric feels amplified.