This piece started during my residency at Cortijo el Moro in Andalucía, where the landscape worked its way into the process almost before I noticed. The earliest layer began with rust printing—using found iron objects, nails, and other metal scraps arranged on paper in direct sunlight, then misted with a vinegar–water mix as the metal slowly oxidized. It took time for the impressions to surface, but there was something wonderfully organic about letting the chemistry do what it wanted.

After those golden, mineral-like tones settled in, I built the composition with acrylic, charcoal, and chine-collé, shaping circular fields and seed-like forms that feel rooted in nature without pointing to anything literal. The collage textures, drifting lines, and soft color washes create a quiet sense of movement—forms slipping into focus, then relaxing back into abstraction. Familiar, but never fixed.