Now, later, or in Private sits at a transitional moment in my practice, where I was beginning to move away from heavier layering and collage-driven surfaces toward a more brushwork-forward approach. You can still see traces of both modes here—the underlying structure is built through loose, gestural painting, while a poured layer of paint sits on top, partially obscuring and activating what’s beneath.

The composition leans into color relationships more than structure. Soft greens in the background create a calm field that holds a cluster of cooler blues, violets, and pinks in suspension. The poured paint introduces a kind of fluid interruption—its semi-opaque, milky quality both unifies and disrupts the composition, softening edges while creating new contours that feel almost accidental but end up directing the eye.

There’s a lightness to this piece that I still respond to. It doesn’t try to resolve itself too tightly. Instead, it moves with a kind of lyrical openness—marks appear, overlap, and recede without insisting on hierarchy. It feels like a place where I was giving myself permission to let things happen, to enjoy the act of painting without over-determining the outcome. In that sense, it became a quiet lead-in to the more fully brush-driven work that followed.