Afterglow

Afterglow translates a sunset into architecture. At over seven feet tall, the canvas is filled with hard-edged geometric planes, many with clipped, beveled corners, layered in a smooth gradient that moves from cream, peach and golden yellow at the top through hot pink and crimson to plum and near-black at the base.

The color follows the logic of the title. The upper half holds the last of the light, pale and luminous, while the lower half has sunk into the deep reds and violets of dusk. A horizon of dense, overlapping forms runs across the middle, where the two registers meet and the planes crowd most tightly together.

The shapes suggest a city seen at the end of the day, a circuit board, or the facets of a crystal, without settling on any of them. Each plane is rendered with smooth, even gradients, which gives the surface a polished, almost digital glow while the paint itself remains unmistakably hand-applied.

At this scale the painting becomes immersive. The viewer stands inside the warm field of color rather than looking at it, held in the brief moment after the sun has gone down.