12/08/2026
I’d make this one a little more **specific and visually analytical** than the previous post. The painting has a very clear material language: broad spatula planes, scraped layers, pink underpainting, turquoise/cyan dominant fields, and the fine dark drawn lines sitting on top. That gives us more to talk about and makes the post feel less generic.
**Built in layers. Scraped back. Drawn into. Built again.**
This piece started with colour and movement rather than a finished image in mind. The turquoise and cyan layers were pushed across the surface with a spatula, leaving broad, irregular planes of paint and visible changes in pressure. Underneath, the pink and violet layers remain exposed in places, creating the contrast that holds the composition together.
I deliberately kept parts of the earlier layers visible instead of covering everything. Scraped edges, overlaps, small paint deposits and accidental marks become part of the structure. The surface is not meant to look perfectly controlled. It is built through repetition: applying, moving, removing and rebuilding the paint.
The final layer of dark linework adds another level to the piece. These lines follow some of the shapes already created by the paint, but also interrupt them, creating new forms and giving the surface something almost architectural. Some areas feel solid and heavy, while others seem to open up and reveal what is underneath.
The spatula is still the main tool here. I like what it does to the paint: it doesn’t simply apply colour, it changes the surface itself. It leaves ridges, sharp edges, thin scraped areas and places where several layers become visible at once.
For me, the interesting part is what happens between intention and accident. I can decide where the colour goes, but I can’t completely control what the surface does once the layers start interacting.
And maybe that is why I keep coming back to this way of painting.
When you look at it, what do you notice first: the colour, the layers, the linework, or the texture?
