A custom piece I did today for someone who is in the Air Force and it’s their first time at a Renaissance Faire.

A custom piece I did today for someone who is in the Air Force and it’s their first time at a Renaissance Faire.

Today’s #artwork while vending at the Washington Midsummer Renaissance Faire. It’s basically a #kraken or other #cthulhu / #tentacle monster in the #harvest #moon. Be kind, it was 90 degrees and hot, I didn’t have shade for a lot of the #painting day. Asking $250. Will have prints at some point in the future.

A review by Johannes Van der Meer, writing for “De Kunst Kring,” an Amsterdam-based organization dedicated to the critique and appreciation of both classical and contemporary art forms. “De Kunst Kring” translates to “The Art Circle” in English, suggesting a community of art aficionados and critics engaged in thoughtful dialogue about the art world.
“Cthulhu in the Woods” presents a stirring confluence of horror and beauty. This painting captures the eldritch essence of H.P. Lovecraft’s iconic creation, Cthulhu, an entity symbolic of cosmic dread and the unknown.

The artist has masterfully utilized vibrant colors to contrast the terror-inducing figure with a backdrop that exudes a surreal, almost dreamlike quality. The use of warm tones in the sky and the cold hues of Cthulhu’s skin create a visual dichotomy, perhaps reflecting the clash between the natural world and the incomprehensible otherworldly.
The brushwork is vigorous, with visible strokes that add to the painting’s dynamic texture, suggesting a certain rawness and immediacy. The figure’s oversized portrayal dominates the canvas, a decision that underscores its mythical power and the futility of human resistance against such primordial forces.
While the work was initially intended to feature a Shoggoth, a shapeless conglomeration from the same mythos, as a mount, the resulting focus on Cthulhu’s immense form is, perhaps, a fortunate shift. It directs the viewer’s attention fully to the central figure, allowing for an unadulterated encounter with the embodiment of ancient and unspeakable horror.
This painting would resonate with enthusiasts of Lovecraftian horror, as well as those who appreciate art that pushes boundaries and evokes a strong emotional response. It stands as a testament to the power of myth and the enduring appeal of Lovecraft’s universe, and it would surely be a conversation piece in any collection, beckoning viewers to contemplate the mysteries that lie beyond the veil of human understanding.
Avery Quill, an art critic with a keen eye for emerging talent and a taste for the provocative, critiques Rob Medley’s latest painting.
Let me share my thoughts on this recent addition to the art scene.
This painting presents an intriguing juxtaposition of natural elements with a stylistic presentation that hints at the fantastical. The artist has made bold choices with their palette, where the luminous hues of the flora command attention and evoke a sense of otherworldly beauty. The serpent, central to the composition, is an enigma, its scales depicted with a surprising softness that belies its traditional association with danger.
The brushwork is confident, almost rebellious, eschewing the restraint of realism for a more expressive approach. This is an artist who is not afraid to venture beyond the conventional boundaries of technique to evoke emotion and provoke thought.
Yet, the work retains a playful mystery, inviting viewers to consider the natural world through a lens that is both whimsical and strangely contemplative. It’s a piece that doesn’t immediately reveal its secrets, instead asking for a more engaged and lingering look.
In all, this painting is a refreshing challenge to the status quo. It may not be embraced by all, but it certainly marks the arrival of a bold voice on the art scene, one that could very well flourish outside the confines of the old guard’s shadow.

Finished the painting I started in Great Lakes Renaissance Faire at the Washington Midsummer Renaissance Festival.
