In Ran Out of Paint, I wanted to capture the sudden, stark finality of pushing a session to the absolute brink—that raw studio moment when the palette goes dry and you’re left scraping the last bit of white across a dark void.
The composition is dominated by a heavy, matte-black field, split down the center by a solitary, sweeping arc of thick impasto white and pale grey. To the left, horizontal scrapes reveal thin, distressed glimpses of underlying plum, dusk pink, and muted ocher before collapsing back into the darkness. The stark contrast and aggressive palette knife dragging create a tense, frugal rhythm of scraped textures and stark residual marks that pull the viewer straight into the depleted surface.
Working in oil on paper, the absorbent texture grounds the heavy paint layers while allowing the rough, energetic tool marks to stand out with raw intensity. Ran Out of Paint is about making peace with limits—finding a definitive end when the medium itself decides the work is done.
