I spent years trying to paint the way coastal light settles on things, that particular weight it has when the air's full of salt. Photography catches it faster than I ever could with a brush, but the noticing part is the same. You're chasing something specific in those colors, and it shows.

There's a particular kind of quiet that coast light carries, and it sounds like you've built your whole practice around catching it. Tróia has that stretch-of-sand stillness I recognize from my own harbor days, the kind that asks you to stop moving for a minute and just look at what the water's doing.