Green Light

"Green Light" a cool, nocturnal violet washes across the surface, built in thin glazes that let earlier blues and greys breathe through. Within this atmosphere, soft-edged shapes hover—rounded rectangles that glow from inside with a citron–mint light. They don’t sit on the ground so much as emerge from it, like windows warming up in a twilight façade or lanterns seen through fog. Their boundaries are negotiated rather than drawn: feathered transitions, rubbed edges, and faint halos where light seems to leak into the surrounding dusk.

The structure is held by a loose grid that never fully declares itself. Graphite and scratched incisions trace pathways under the paint—arcs, crossbars, and small notations—so the image reads as both architecture and memory. A vertical band near the right becomes a spine, dividing the field while connecting two stacked “lights”; to the left, paired forms rhyme across the surface, setting up a slow rhythm of doubling and echo. Negative space remains active, pooling into cooler pockets that deepen the sense of depth without resorting to perspective.

Materially, the painting is patient. Layers are scumbled, lifted, and re-laid, leaving veils and tidelines that record time spent looking and correcting. Where the mint light is strongest, chalkier pigment rides the tooth of the support; elsewhere, translucent washes blur the edges so the forms feel breathed onto the picture plane. The palette is restrained—blue-violet, slate, and that unexpected green-yellow—yet it carries a surprising emotional range: hush, watchfulness, and a tender charge where the light gathers.

The mood is contemplative, urban yet dreamlike. It suggests the quiet of a late hour when interior lives show as small squares of light, or the sensation of walking past an aquarium at night, seeing movement without detail. Stand back and the composition resolves into a serene grid of illuminated cells; step close and it dissolves into a palimpsest of gestures—scratches, glazes, and subtle temperature shifts—where the real drama is the negotiation between glow and gloom.