In Copper Topper, painted fields of warm copper, deep teal, and muted gray are intersected by weathered picket fence slats, introducing a strong physical structure to the composition. The horizontal wooden elements divide and connect the surface simultaneously, creating a sense of balance between order and variation.
The materials carry their own history. Worn wood, marked by time and use, contrasts with the layered acrylic surface beneath, while a row of rusty horseshoe nails adds both visual rhythm and a subtle nod to utility and craftsmanship. These elements transform the painting into an object—something assembled as much as it is painted.
The composition feels architectural, yet remains rooted in abstraction. Color fields provide atmosphere, while the embedded materials ground the work in place and memory. The interplay between refined surface and raw material creates a tension that is both tactile and visual.
At its core, the painting reflects a dialogue between past and present—between what has been used, weathered, and repurposed, and what is newly composed. It is a work that embraces imperfection, history, and the enduring beauty of materials shaped by time.
• 30 × 24 × 1.5 in.
• Acrylic paint, picket fence slats, and rusty horseshoe nails on birch cradleboard
