I recently completed another small series of larger, more complicated pieces inspired by small studies that I have had hanging around the studio for about seven months. I picked up these trophies a few years ago and painted them a few times because the textures within the tarnished surfaces themselves are what I enjoy.
Above, we have a 16-inch square study for a much larger 40 x 30-inch piece below. These pieces are currently being shown in New York City at the George Billis Gallery.
I’m on a bit of a typewriter painting frenzy. This is the fifth typewriter I’ve been working on for the past few months. I find it interesting that I’ve chosen to focus on these machines while much of the world becomes obsessed with artificial intelligence and leaving all the actual writing up to robots.
I think the best writing only ever came from when it was a deep-thinking human act — and a physical one, where your whole body was involved. So I contend that these typewriter paintings have gone from a nostalgic admiration for old machines to a defiant skepticism of new technology.
I love this time of year. Here are two fresh new pieces that are now in Los Angeles at the Billis WIlliams Gallery.
I love all the symbolism of spring and the burst of new growth and life.
Another recent commission to round out the year safely delivered to a collector in Minneapolis.
For the past few months, I have been working on these larger, more complicated pieces and commissions — which keeps me thoroughly occupied and entirely away from sharing the work as I progress along. It’s very nice to be able to vanish into the paintings.
This particular piece is like painting three paintings in one. Layers of paint and lots of time for each to dry before I can add more and get the balance right.
This piece was quickly snatched up by a collector in Virginia before it had a chance to see the gallery wall.
This piece will be shown at the Red Dot Miami art fair with the George Billis Gallery from November 30 — December 4.
I just put the finishing touch on this commission, and then it’s on to the next one.
I have been sharing my work on the internet for twenty years in all the various incarnations of websites, blogs, apps, social media, platforms, etc. And if there is one thing I know for sure now, it’s that no matter how dedicated you are to a particular service or application, it will, without any doubt, completely change or even vanish entirely.
The personal website, like this one, have been around since day one. So my work gets to live here for anyone to come and see at any time instead of being washed away in the ever-growing flood of new images that flash past your eyes on Instagram.
The only advice I would give other artists about their careers is to set up and maintain a good website. Instead of pouring all your energy into things like Instagram, focus on a website. Because after 20 years or more, you’ll see it is worth the effort.
This Red Royal Quiet Deluxe and Books + Pencils will be shown in New York City with the George Billis Gallery for the next few months.
Back into the swing in the studio, the next several months will be busy focusing on the tiny details of many paintings.
Two new clock paintings at the George Billis Gallery in Connecticut — 10:10, No.16 & 10:10, No.19. Silver & Gold.
August, ugh — consistently the most challenging month for me to focus on work. To sit and paint all day long doesn’t work for me in August. The sun is at the wrong angle, making the studio’s light so harsh and brutal. Like so many other parts of the world, the days in my area are hot and dry. So dry. The entire region looks haggard and worn out, tired from the long hot summer days coming to an end.
I focus on preparing canvas for a burst of creative activity in the fall; when the light changes, the temperature cools down, and clouds return to the sky, diffusing the light, making the shadows softer and calmer.