In Dragon Drop, the surface reads like a weathered wall—built up, broken down, and reworked until history becomes inseparable from gesture. Layers of muted greens, earthen browns, and oxidized blues establish a grounded, atmospheric field, evoking the patina of the Southwest—sun-faded, timeworn, and quietly complex.
Cutting through this restrained palette, a bold red form asserts itself across the composition, its presence both structural and elusive. It feels partially revealed, partially buried—emerging through successive passes of paint, scraping, and removal. This interplay between concealment and exposure echoes the process-driven approach of Gerhard Richter’s squeegee work, though here it carries a distinctly regional sensibility, where dust, heat, and erosion shape the visual language.
Drips and vertical pulls further disrupt the surface, allowing gravity to collaborate in the mark-making, softening edges and blurring intention. The result is a tension between control and surrender—between what the artist places and what the painting becomes.
Dragon Drop resists a single reading. Instead, it invites the viewer to navigate its layers, where structure dissolves into atmosphere and bold gestures are tempered by time and process. It is less an image than an excavation—an artifact of motion, memory, and material.
30×30×1.5 in.
Acrylic on canvas
