“Residue & Intervals” is built the way a room becomes a home: by repetition, by small adjustments, by decisions that don’t announce themselves but accumulate authority. The painting holds two tempos at once—vertical runnels that read like weather passing through the day, and a compressed lower register that behaves like sediment: what stays after the light, the conversations, the seasons. This is abstraction beyond the white cube: not an image that performs once, but a surface that keeps working in lived space. In private residences it behaves like a quiet anchor—never “matching” the room, always tuning it. In hospitality it does what the best environments do: it calms without going bland, energizes without noise. From across the room it reads as atmosphere; up close it becomes evidence—layers, edits, scrape-backs, and the slow intelligence of restraint.