These pieces began as a series of small watercolor experiments—each one painted individually on circular sections of paper. There was no fixed plan going in. The goal was simple: let the paint move, react, and settle on its own terms.

Working this way removes control at the start. Color bleeds, edges form unpredictably, and textures develop in ways that can’t be forced. Some areas bloom softly, others create hard lines or unexpected patterns. Each circle becomes its own contained moment of movement and color.

Once the individual pieces were complete, I brought them into Photoshop and began building a larger composition. This is where control returns—but in a different form. Instead of directing the paint, I’m directing relationships:

How shapes overlap
Where color intensity sits
How transparency creates depth
What draws the eye first

Layering the circles allows the textures to interact in new ways. Soft washes stack over one another. Edges blur or sharpen depending on placement. The composition starts to reveal itself rather than being imposed.

This hybrid process—traditional watercolor combined with digital composition—is one I return to often. It gives me the unpredictability and organic movement of paint, paired with the flexibility to experiment, rearrange, and refine without losing the original energy of the work.

The final result is less about a defined subject and more about atmosphere. Color and texture take the lead, while structure emerges gradually through layering and balance.

It’s controlled chaos. Just enough intention to keep it from falling apart.