After painting Cherry blossom and Luna, I felt something was missing for the next chapter—texture. I wanted a piece where roughness, thickness, and visible layers could tell their own story. At the time, I was experiencing a difficult period marked by anxiety and depression, and I believe those darker colours found their way onto the canvas as a result. This wasn't planned or named in advance; it was pure exploration of texture, using a similar technique to Cherry blossom but applied vertically instead of horizontally. When I stepped back, the composition reminded me of a night city: scattered lights glowing in skyscrapers against the dark. That's how it earned its name.
After painting Cherry blossom and Luna, I felt something was missing for the next chapter—texture. I wanted a piece where roughness, thickness, and visible layers could tell their own story. At the time, I was experiencing a difficult period marked by anxiety and depression, and I believe those darker colours found their way onto the canvas as a result. This wasn't planned or named in advance; it was pure exploration of texture, using a similar technique to Cherry blossom but applied vertically instead of horizontally. When I stepped back, the composition reminded me of a night city: scattered lights glowing in skyscrapers against the dark. That's how it earned its name.
