Painting

Signal Flares Triptych

Three small canvases stacked vertically, each carrying the same explosive vocabulary of neon green, fluorescent yellow, vivid orange, and scattered blue across radically different grounds. The top panel detonates against a deep crimson field — vertical streaks of green, orange, and yellow-gold rip upward through the red like signal flares launched from the earth. The middle panel flips the script onto a shimmering silver-white interference base, where the same color family scatters across a luminous, almost alien terrain. The bottom panel plunges everything into deep navy night — a central yellow-green eruption splits the darkness while orange blooms to the right, yellow dots orbit like planets, and a gold interference smear catches light in the upper left corner. These three panels are built with Golden Interference acrylics, and the shifts between them are dramatic. The silver-white middle panel moves between pearl, lavender, and warm gold depending on where you're standing. The crimson panel has an interference gold vein running through center that appears and disappears as your angle changes. The navy panel carries subtle blue interference striations beneath the dark surface that only reveal themselves in direct light. Each canvas lives differently at different times of day. The technique is rapid and gestural — vertical pours and flings that share a common motion across all three panels, creating visual continuity despite the wildly different backgrounds. Blue splatter dots connect the pieces like a recurring rhythm. There's heavy texture throughout, especially on the silver panel where the interference medium was applied thick and worked with tools before the color layers hit. The paint wraps around all edges, making each piece ready to hang without framing. Painted at the homestead in Riverside, Washington — three small windows into the same storm, seen from three different rooms.