Last week, I mentioned that I had spent much time painting typewriter keys in the past few months. So here’s an example of more typewriter keys.

Repetition, continuity, rhythm, symmetry and balance — these are all elements that drive my paintings. But also, they drive my studio practice. For centuries artists have repeated subjects, returning to the same thing repeatedly to improve upon their last iteration.

I have seen artists entirely give up on the idea of a career doing what they love because they get bored with the notion of always returning to the same subjects. The not-so-secret secret, it would seem, is to keep coming back to what you know.

Cézanne paintined Mont Sainte-Victiore dozens of times. The same view, over and over. Monet did a series of Rouen Cathedral 30 times. The precise same position and composition.

And so today, I return to painting yet more typewriter keys and other intricate details of the mechanisms that make these machines so interesting to me.

This piece is fresh off the easel and awaiting varnishing before it heads off to the Robert Lange Studios in Charleston, South Carolina.

I’ve got several commissions in the works and a solo exhibition in Los Angeles in April 2018, so I have my work cut out for me this winter. It’s good to be busy.

This Remington Quiet-Riter painting is like all of my paintings – simple at first glance, but full of detail once you look a little longer. The straight forward composition is easy to read, but the repetition in the numerous keys creates complexity. The layers of paint to bring the depth of the inside of the case was a joy to paint.