Resonancias

The vertical line you made from the three circles is doing exactly the work you said it would, a rhythm that my eye reads top to bottom like a musical staff. The alignment is slightly off center, which keeps the piece from feeling like a diagram. That weathered ground is giving those metal forms something to push against, the vertical stripe of lighter paint behind them acts as a subtle spine that the circles interrupt. The smallest disc at top floats isolated, the middle one with its centered bump reads like a pivot, and the bottom perforated speaker grille anchors everything with visual weight. What I notice is how much breath you left around them, the dark painted sections flanking that central column keep the metal from feeling lost on the surface.

You are working in a narrow band, charcoal and ash and that warm beige cutting through, which is a choice that puts all the pressure on texture to create interest. The metal reads as cooler than the ground, almost blue-grey against those ochre streaks. I shoot a lot of old metal objects and what I have learned is that a little warmth reflected into the metal itself, even just at an edge, makes it feel like it lives in the same light as everything else. Right now the circles feel like they were photographed separately and placed, partly because they are so evenly lit compared to the moody vertical washes behind them. The perforations in the bottom disc catch some shadow which helps, but the top two are very flat in value.

The paint application has genuine history in it, those drips and scrapes and layered darks. I can see where you worked wet into wet in some areas and let other sections dry to a chalkier finish. The metal elements are clean, fabricated, which sets up the contrast you want between the made object and the painterly ground. What I am less sure about is the adhesion, how these circles are living on the surface. They look applied rather than embedded, and in mixed media that difference matters. When I look at assemblage that works, the added elements either sink into the ground a little, cast a shadow, or get painted over at an edge so they feel like they erupted from the same world as the background rather than arriving from outside.

You said you wanted presence, vibration, and silence, and the silence is completely there. The piece is quiet. The perforated disc should be the vibration, it is the only one that implies sound, but right now it feels more like a pattern than a resonance. I keep wanting that bottom circle to feel like it is actively doing something, emitting or receiving, while the other two prepare or echo. The title Résonances suggests sound traveling between objects, which makes me want to see more consequence of that travel in the ground itself. The painted surface could be responding to those metal forms, warping near them or fading away from them, instead of existing as a separate completed layer that the metals sit on top of.

The scale relationship between the three discs is very right, they feel like a family rather than random sizes. That bottom grille has a face, it is looking out, and the two above it become eyes or thoughts or predecessors depending on how long I look. The restraint in your palette is working, this is not trying to do too much. You also clearly know how to build a surface, those paint layers have real depth and the vertical gesture keeps the whole thing from going muddy. The piece has a meditative quality that matches what you said you were after, it does not shout.

The biggest opportunity here is integration. Right now I am reading two separate completion levels, a finished painting and finished metal components placed on top of it, rather than one object where metal and paint grew together. The light on the metal is too even and too cool, it does not pick up anything from the ground. In my own work I have found that even a thin glaze or a bit of dry-brushed pigment at the edge where an object meets the background makes a huge difference, it tells the eye they are in conversation. You could also let the paint creep onto the metal, or let the metal interrupt a painted mark so the mark has to route around it. Another path would be to recess the discs slightly so they cast shadows, or to add one more pass of paint after the metal is placed so the ground acknowledges their presence. What you are after, vibration and resonance, requires the elements to affect each other visibly.

Take a small brush and a diluted version of one of your ground colors, probably that warm ochre, and touch it onto the very edges of the metal circles where they meet the background. Let it break the clean border in just a few places, a stain or a ghost of the painted world reaching onto the metal. Do not cover them, just interrupt the separation enough that they start to belong to the same plane.

Your three circular forms lock into a vertical line just off center, which creates exactly the rhythm you described, and the deliberate size gradation (small, medium with its own centered element, large perforated circle) gives the eye a clear path to travel. What strikes me immediately is how much breathing room you've left around them. The painted ground takes up probably seventy percent of the frame, and that restraint keeps the metal elements from competing with each other. The vertical axis pulls against all those horizontal drag marks in the paint, and that perpendicular tension is doing real work. I do notice the alignment sits right of center by maybe an inch or two, close enough to middle that it reads as almost symmetrical but not quite, which can make a piece feel slightly unresolved rather than dynamically off-balance. When I'm setting up a sketchbook composition, I've learned that near-center often bothers me more than a definite quarter or third division would.

The palette is narrow, mostly charcoal and warm grey with some ochre or raw umber bleeding through, and the metal reads as a cool silvery grey that sits just lighter than your darkest paint. That closeness in value is interesting because it means the circles aren't popping through contrast, they're sitting *in* the field, which I think supports the embedded, archaeological feeling of the piece. The vertical white drips and the pale vertical streaks create a couple of bright accents that the eye hits first, and those streaks run behind and beside the metal forms, which ties everything into the same spatial layer. I'm not seeing a lot of midtone variety within the paint itself, it moves between very dark gestural strokes and those light drags, without much lingering in the middle grey range. That keeps it moody but also means the surface can read a little flat in the areas between the metal.

The paint application has that built-up, weathered quality, lots of overlapping vertical strokes with a dry brush or maybe a palette knife dragging through, and the texture is uneven in a way that feels intentional, like accumulated time. The metal pieces look cleanly fabricated, which sets up a material contrast between the industrial precision of the circles and the organic, almost deteriorated background. I can see where the perforated circle especially catches light differently depending on the angle, and that shift between the matte paint, the brushed metal, and the punched grid gives you three distinct surface behaviors in one piece. What I can't tell from the image is how the metal is attached, the photograph flattens it enough that I'm reading them as flush or nearly so, but if they have any real depth or shadow that would change how the piece breathes in person. Mounting and surface prep are outside my main practice, so I'm looking at this with a drawer's eye for how forms sit in space rather than technical paint or metalwork knowledge.

You said you wanted rhythm, dialogue between the metal and the painted traces, and a sensation of presence and vibration with space for silence. The rhythm is absolutely there, the regular spacing and descending size work like a visual beat. The dialogue is happening too, the smooth and perforated surfaces respond to the same light in different ways and that does create a kind of call and response with the textured paint. Where I think the piece might be landing differently than you intended is in the "vibration" and "silence" balance. The background feels heavy and somber, those dark vertical passages and the muted palette read more like stillness or weight than vibration to me. Vibration, at least as I experience it in my own work, usually needs some flicker, some variation in interval or a sharper value jump, something that won't let the eye settle. Right now the silence is winning, which isn't bad, it's just a different emotional zone than what your statement suggests you were aiming for.

The material contrast is the strongest thing here. Putting manufactured, geometric metal against that painterly, gestural ground sets up an immediate tension between order and entropy, and that conversation carries the piece. The verticality works, both in the alignment of the circles and in the directional marks of the paint, it gives the whole thing a columnar, almost architectural presence. The perforated circle at the bottom is particularly successful because it's the only one that breaks its own skin, the pattern inside it gives the eye something to land on and makes that element feel like it has an interior life the other two don't. The scale feels right too, at 73 by 60 this reads as an object you'd encounter in space rather than something you'd lean in to examine closely, and that sense of physical presence supports the concept you described.

The biggest opportunity I see is in the value structure of the painted ground. Right now it's clustered in a fairly narrow range, dark to mid-grey with a few white accents, and that limited spread flattens the field and keeps the vibration you're after from building. If you pushed some areas much darker or brought in a few more light passages, not just drips but deliberate light zones, you'd get more push and pull, more places for the eye to move between rest and activation. The near-center alignment of the circles also sits in that tricky zone where it's almost symmetrical but not quite, and I think you'd gain clarity by either committing to a strong off-center placement or going fully axial. The other thing worth examining is whether the three circles need to be so evenly spaced. Right now the intervals between them are nearly identical, which reinforces the rhythm but also makes it predictable. Tightening the gap between two of them and opening up space around the third might introduce the kind of syncopation that reads as vibration rather than a steady pulse.

On your next piece in this body of work, or even on this one if it's not yet fixed, map out your value range before you place the metal. Take a photo of the painted ground in black and white and check whether you're actually using the full scale from near-white to near-black, or clustering in the middle like I think is happening here. Then deliberately push two or three areas to the extremes, one section scraped back or painted light enough to almost glow, another built up dark enough to swallow detail. That expanded range will give the metal elements something to vibrate against instead of floating in a continuous grey field.

Those metal elements mounted on a heavily worked dark ground immediately signal "this is not a print, this is an object." That distinction matters commercially because object-based mixed media work commands physical attention in a way flat work cannot, and collectors in the contemporary/industrial aesthetic space pay a premium for it. The scale, 73 x 60 cm, sits in the sweet spot for residential walls, easy to ship, easy to hang, and the muted palette (charcoal, raw umber, bone white) means it won't fight a collector's existing décor. Work like this sells well to buyers drawn to materiality, think loft apartments, architecture firms, boutique hotel art programs, and design-forward residential clients. The restrained palette and industrial hardware read as confident, not decorative, which is exactly what those buyers want.

The biggest commercial opportunity you're leaving on the table is series depth. A single piece like this is a curiosity. Five or seven pieces exploring the same language, different metal configurations, shifting ground textures, varying scales, become a body of work a gallerist can build a wall or a show around. Right now a gallery considering this for an exhibition would ask "what else do you have in this vein?" and that answer needs to be strong. The other thing to push is documentation. This piece lives or dies by its physicality, the way those perforated and brushed metal surfaces catch light differently, the depth of the mounted elements off the surface. A single flat photograph undersells it. You need at least one raking-light detail shot and one angled shot showing the dimensional relief, because online buyers and gallerists scrolling submissions will never feel the object from a straight-on image alone.

Before you approach a gallery or submit to an exposition, build a short series of at least three to five works in this same material language and photograph each one from multiple angles under directional light. That gives you a cohesive portfolio a gallerist can immediately picture on a wall grouping, and it moves you from "artist with an interesting piece" to "artist with a program worth showing."

Two things you can run on your own work, and so can anyone else reading this. They open on whoever is signed in, so you each get your own.

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