Dream Master began as an experiment with dark tones — a test of how far alcohol ink could be pushed into shadow before losing its light. At one point, it felt like the piece had gone too far, the deep red overtaking everything, and I thought it might not work. But I stayed with it, using a few tools to move through the darkness and bring light back into the surface.
What emerged was something unexpected: traces of color that refused to disappear, shining through like signals from another realm. It reflects both surrender and discovery, a reminder that even in darkness, there are presences that guide us.