This painting is part of an ongoing exploration of memory, erosion, and the quiet persistence of history. The repeating mosaic arcs draw from Roman and Byzantine patterns, layered with cracks and interruptions that break the rhythm. Beneath the surface, faint figurative elements—suggesting movement, gesture, or dance—begin to emerge, as if something once alive is still echoing through the structure.
Built with acrylic, stucco, and charcoal, the surface is worked, sanded, and weathered to create a patinated, fresco-like finish. The balance between the geometric tile pattern and the fractured, organic marks creates tension between order and decay. The piece reflects an interest in how fragments of the past remain—subtle, worn, but still present beneath the surface.
Details:
• Acrylic, stucco, and charcoal on canvas
• 40 × 30 × 1.5 inches
• Created in California, USA, 2025
Note: Surface texture and finish may appear differently depending on lighting conditions. Subtle variations are part of the work’s character.
This painting is part of an ongoing exploration of memory, erosion, and the quiet persistence of history. The repeating mosaic arcs draw from Roman and Byzantine patterns, layered with cracks and interruptions that break the rhythm. Beneath the surface, faint figurative elements—suggesting movement, gesture, or dance—begin to emerge, as if something once alive is still echoing through the structure.
Built with acrylic, stucco, and charcoal, the surface is worked, sanded, and weathered to create a patinated, fresco-like finish. The balance between the geometric tile pattern and the fractured, organic marks creates tension between order and decay. The piece reflects an interest in how fragments of the past remain—subtle, worn, but still present beneath the surface.
Details:
• Acrylic, stucco, and charcoal on canvas
• 40 × 30 × 1.5 inches
• Created in California, USA, 2025
Note: Surface texture and finish may appear differently depending on lighting conditions. Subtle variations are part of the work’s character.
