Induction is an ongoing series of paintings growing out of two obsessions that I've come to think are really the same obsession. One is scientific — electrical circuitry, magnetic fields, the mechanics of how energy moves across open space without direct contact. The other is metaphysical — the human aura, consciousness as a shaping force, the idea that attention is a form of energy that can be directed and accumulated. I've been sitting with both of these for a long time, and at some point they stopped feeling like separate inquiries.

Each painting is structured as a mandala-circuit, a geometric field built through thousands of counted brushstrokes, and some of them are titled by the nanometer wavelength of its dominant color frequency.

Gold leaf use in these paintings is very intentional. I kept coming back to the image of an induction plate — a surface that generates a transfer of energy not through contact, but through a changing field moving across open space. The gold circle is that. It's also a gong, a mirror, a tuning device. I wanted these paintings to function as a circuit — where the geometry directs something, where the accumulated labor of the strokes charges the surface, and where the gold holds and returns that energy.