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Flip Cup · Round Canvas

Spacey, not oceanic.

Same paint. Same session. The round canvas changed what it became.

Spacey, Not Oceanic — flip cup pour on round canvas

Arteza Metallic Acrylics · Leftover palette from the Bioluminescent session · Flip cup on round canvas

Same session. Different conversation.

This piece is built from what was left over after the Bioluminescent pour. A flip cup uses what’s left: when that pour finished, the cups still had paint — Ultramarine Blue and blue metallics, layered in the order they’d been used. Most of the silicone oil had already floated to the surface during the first pour. A trace amount remained. Enough.

I stacked the leftover colors into a single cup, inverted it onto a round canvas, and lifted. Then tilt work to move it across the surface, a torch pass to release the bubbles. The whole thing took minutes. The result took longer to understand.

No horizon.

A rectangular canvas has orientation — top, bottom, implied horizon. A round canvas has none of that. The composition radiates from wherever the flip cup landed, and the tilt spreads it without a preferred direction.

Same palette, same session, same chemistry. But the round format removed the horizon line — and without a horizon, the result stopped reading as ocean and started reading as space.

The Bioluminescent piece has depth — you read downward into it, the way you’d read into water. This one has distance. You read outward from the center, the way you’d read a star field or a nebula. The cells are the same cellular chemistry, but in a radial field without a horizon they become something else — less biological, more astronomical.

Where it came from.

This piece carries the same palette, the same session, the same conversation between pigment and medium as Bioluminescent. It’s a separate work. But it comes from there.

Bioluminescent — Dutch pour on canvas

Dutch pour · Arteza Metallics

Bioluminescent

Where the paint came from. Same session, first pour.

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