Light Codes began with a dream.
I was standing before what felt like a veil between worlds. Beyond it was a hill or procession of the dead, moving toward light. Three beings stood close behind the veil. They were not fully human and were not meant to be rendered realistically. Their presence felt more like energy trying to become visible.
When they touched or pressed against the veil, translucent color and geometry appeared around them, almost as though another visual language existed underneath ordinary perception. The geometry was luminous, fragmented, and rainbow-like rather than decorative. It felt less like something being added to them and more like something being revealed.
That became the foundation of the painting.
The figures remain partially obscured because the piece is not about clearly seeing what exists beyond the veil. It is about sensing that something is there. The distorted faces, abstract hands, geometry, texture, and layers of translucency sit between recognition and uncertainty.
Numerical light codes are embedded throughout the work. Some remain visible while others disappear beneath later layers. They function almost like information carried inside the painting rather than text intended to be read literally. The sequences relate to love, abundance, protection, and the possibility that meaning can exist even when we cannot fully decipher it.
The physical surface matters to the story. Glass bead texture, translucent glazing, interference color, and selective gold allow parts of the painting to appear and disappear as the viewer or the light changes. The work is intentionally different depending on how it is approached.
Light Codes is ultimately about the threshold between what can be seen and what can only be felt. It came from an experience that felt real to me, so I did not want to illustrate or explain it into certainty.
I painted my reality.
The tension is often more interesting than the resolution.
