I do commission work. If you’ve got something in mind, need something big, different from my norm, etc., I will take on the job.
You’ll notice that my art generally is in the 16×20 or 18×24 range. This is due to storage issues. I’ve done two bigger works, each at 30-something by forty-something (below), and have had to store them on my walls since there’s only so much space for keeping these paintings dry and temperature controlled.
Unity, 2016
This isn’t to say I wouldn’t mind painting bigger canvases, but until I get my studio set up, slated for February 2018, I can only take commissions for bigger work.
Firefly, 2016 (A light-based, 3-D Painting / Sculpture)
So yeah, big canvases are not a problem. I use a formula to calculate the price, basically a base of the canvas size times hours invested, plus materials and the dreaded beast – shipping.
If you are interested in having something painted, by all means contact me. If you have a reference picture that would be super-awesome. We can set up a conference call to discuss the work desired.
Note, my Achilles heel is doing realistic paintings of people. Animals? No problem. Concept or abstract art? Also, no problem. I will do portraits but can’t guarantee they will be spot on. Let’s go to the studio for a reference (below):
Now, granted this was painted two years ago when I was just starting (hopefully I’ve gotten better), but there are things I would do better/different now. Luckily, payment sort of fell through (they broke up), so I don’t feel bad about the work.
So actual portraits are a roll of the dice, enhanced portraits (kind of like Hollywood – based on actual people / events) are doable. Landscapes, flowers, animals, or abstract? The sky is the limit.
If you’re interested in hiring me to do commission work, send me an email using the contact form.
This #painting was inspired by my fascination with #Viking culture. The whole concept of living day to day not knowing whether it was going to be your last seems so much more exciting than being assured you are getting up today, tomorrow, and the next day, with the firm realiziation that you will be doing PowerPoint or some other banal thing to pay divorce debt. But I digress…
Viking culture, it’s loud, in your face, mystical, even… primal. The #dragon is central to this culture. Níõhöggr, a dragon in the Völuspá; Jörmungandr, the #Midgard Serpent, who will begin #Ragnarök; Fáfnir, of the Völsung Cycle and the Drekki in the Gesta Danorum, are examples of wyrms that litter #Norse literature and theology.
This artwork is inspired by Norse jewelry design. It also serves as a proof of concept for a path I want to follow; combining manuscript illumination, 3D design, other elements of the Dark Ages… and #cake #decorating.
The composition is mixed media. Really, it’s mostly acrylic paint on canvas, but given depth through the use of gels and such. I also used a spare icing thingy I had laying around. What can I say? Cutting edge?
Anyway, I hope you like it. I’ve taken several types of photos in different light to show off its metallic character. I used a piece of broken blue glass for the eye. In future art, I’m going to use gems and stones and whatnot to give it a Medieval feel.
Night Light is the first attempt to create the scene I was envisioning as a painting. I realized too late, that I had made the street lamp too big relative to what I wanted to happen around it. I would have needed a canvas three times the size to keep the perspective of what is in my head. I therefore made the reluctant decision to leave it as is and start another canvas using the street light theme.
In the meantime, I hope you like the results of this one, as it has a few quirks to it. Also, I hope you stick around for what will be the ultimate realization of the vision I have for the scene.
The scene here is reminiscent of what I see when I go for my evening walks. I’m infatuated with light, and any unusual display of it will stop me in my tracks. It’s kind of like “Shiny Object Syndrome”, only literally. There’s a tree and street light combination on the corner of my block that inspired this painting.
This is 18″x24″, acrylic paint on canvas, April 27, 2017.
Close up of Winter’s Odium, Looking Head-onI’m being told that, as an artist, I need to explain my work and process more. This bit of advice comes from a source that I came across when trying to figure out how to break into the big leagues of the art world – besides spending tens of thousands on a BFA/MFA which will get me connections. I’ve never liked networking, which explains job-hunting difficulties in the past. Plus, a degree in the arts isn’t my cup of tea. I’d rather draw exclusively on the creativity inside and discover things on my own – like the measurements involved in the human face, or the structure of leaves.
Winter’s OdiumBut I digress. About my latest work, at first glance, it looks like a kid had a tantrum while holding paint. Yet there is a lot more going on in the work than initially presents itself.
Like an onion, but not an ogre, this painting has layers. The overall theme of the work is the transition from winter to spring.
Initially, the painting was inspired by a cherry tree I saw when coming off the escalator at Federal Center SW, in DC. It was way too early, and the tree’s blossoms were interacting with a nearby streetlight in an awesome way. Yes, it’s the little things in life.
Winter’s Odium, Side Angle, Close UpMy idea was to paint the tree / light combo as if I were a passenger in a car speeding by. I’m still going to do another work based on this idea, but for this one, a shiny object was thrown in my way early in the process.
If you know me, I have a morbid side. I’ll wait for the eye rolls and statements of strenuous affirmation to stop…. Okay, I love crime shows (‘Dexter’ anyone?, ‘Forensic Files’?) and horror movies.
How It Looks on a Wall, Left AngleSo I was watching ‘Midnight Meat Train’, a slasher flick that made its way back onto Netflix after years of being absent. The movie is about a butcher harvesting humans on late night trains in NYC for a group of primordial monsters.
What does this have to do with the painting? I’m getting there 🙂 There is this part in the movie where this girl is being dragged along the bloody floor of the train. A thought occurred to me, so I paused the movie. I looked at the scene, and then looked at my painting. I cocked my head sideways, and then rotated the painting 90 degrees. I had it! I would paint the death of winter in the colors of spring.
How It Looks on a Wall, Right AngleThere’s another part of the movie that talks about art, which resonated with me, but I don’t want to stray off topic too much. So this girl is being dragged along the bloody floor, I thought to myself that it looks like winter being dragged off by spring. The hands were the trees, while the floor was time. You can see the result under the layers of color; look for the red and bone colors.
The next day, as my depression was at a momentary winter of its discontent, I thought maybe I should brighten up the scene, turn it to spring – but in an abstract sense. I broke out the colors, et voila. Greens and pinks symbolize the blooming of spring.
Head-on Shot with Overhead LightOver the succeeding days, I added light; which I’m infatuated with. You can see the sunlight reflected in the yellows and the flashes of white. The white was inspired by what happens when you’re riding (hopefully not driving) in a car with your eyes closed and the Sun is flashing through the trees.
So that is it in a nutshell. I really don’t pre-plan my work – beyond thinking about how something should go in my head. Once the paint starts flying, as in this case literally all over the room (security deposit revoked), I go where my instincts tell me to go.
Winter’s Odium, March 2017, 18″ x 24″. Acrylic on canvas. The variety of angles shows how it could look on your wall. For Sale, $600 (I need to make up that security deposit).
I’ve been doing random acts of kindness for the homeless for a while now, 2-3 lunches instead of just mine, coffee for my man hanging in Starbucks to keep warm, a buck or two here and there…
I’m going to say this up front, I’m not tooting my own horn.
I firmly believe that in telling people you do these acts of kindness; it lessens the value of the act with any higher powers that may be out there. I’d rather keep it simple, but I have a project that is growing.
You see, I’m putting together backpacks for the homeless in the Washington D.C. and Maryland area.
In each backpack is a warm blanket, a Mylar blanket for the cold nights, a magnesium Firestarter, two pairs of socks, a rain poncho, a copy of the ‘SAS Survival Guide’, basic toiletries, food & water, and a little extra for train fare (in case it gets too cold out – you can ride the Metro all day). If I find camping / survival deals on Amazon, I’ll include them in the bags.
Why do this?
I’m an artist at heart, and I want my work to mean something; not just end up (possibly) making someone millions in the future when I’m long departed. Selling art now to fund this program seems to be a very cool thing in my mind.
Most homeless don’t want to be where they are. Some have problems with drugs, alcohol, or mental health issues. Others have been out on the fringe of society for so long that they don’t know or want to reintegrate with society. I give them the benefit of the doubt in every case.
How you fit in?
I’m going to sell each original work I do for $99 dollars plus shipping. If you purchase a work, I’ll give you the opportunity to add extra donations to the purchase via PayPal (how I can take credit cards and keep my inbox safe). All of this money will all go to making packs for the homeless.
So far each backpack is averaging around $50, even by trolling Amazon for the $10 backpacks and blankets. If the project grows too big, I’ll have to start a non-profit.
I’ll have the first four ready to go on Monday (most of the initial gear is en-route). My plan is to carry one to work or each time I go into the city. When I find a suitable candidate (I can tell between those truly in need and the ones that get in a Lexus at the end of the day), I’ll give them the pack.
Final note,
You don’t have to buy my art to do this, you can do it on your own too.
Squareset is an abstract representation of a sunset using strictly horizontal strokes (kind of a thing I’m developing). This is mostly a test set for color, but I think it stands on it’s own. I don’t know if no-impressionism is a ‘thing’; if not, I’ll plant that flag. If you like it, let me know in the comments, and I’ll make more.
My first finger-painting since the third grade. I’ve always wondered how effective it would be. The answer? For a guy with big fingers, I can’t get any detail. I’m going back to brushes for the next one, but it was fun to ‘roll around in the mud’, if you will, and stretch my wings.
As I’ve said, no brush touched this canvas. It looks like it, right? The story, a raven soars in the evening sky, trees below and a gibbous moon riding high in the sky, illuminating it’s coat as it searches for a throne upon which to perch… or something like that.
Acrylic finger-painting on canvas (good thing its not the Middle Ages, where this stuff was not cheap). Comments welcome, I have mostly thick-skin 🙂
The interesting thing about this piece is it was accomplished with nothing but short horizontal strokes of the brush. I also limited myself to metallic paints. This limits choice to blue, green, purple, copper, bronze, gold and white; so lighting was also a challenge.
I’m happy with the painting, it’s a good first step into a style I would like to pursue for a while, but am really unhappy with the way this artwork presents itself on film. If you are standing near it, the natural light does really wonderful things that photographs can’t capture and the metallic feel is lost in the transfer to film. I’ll have to invest in bettering my skills.
Majesty refers to the Lion and it’s place as the ‘King of the Animals.’ Even lounging in the grass of the Savannah, the lion exudes comfort in being the Apex Predator. Conversely, humans are only a 2.2 on the 1-5 scale. The fun fact is that we humans maintain our perch over the animals due to our rational thinking and technology. Without these two things, we are grouped with the likes of pigs and sardines.
Anyway, this is 16″ x 20″ and is an #acrylic #painting on canvas.
This started as something else, then I had the idea to use crushed glass, self-leveling clear gel, other gels, and acrylic paint on canvas board. It really just came together as a pond with a Koi fish inside.
Top Down View
I started with a base of deeper color, then laid the crushed glass, and held it in place with clear gel.
(Viewed at an angle)
The lillies were originally rocks but morphed into the former when I went away from a flowing river concept.
(Lilly closeup)
The lillies are made from gold and metallic colors, filled with clear gel, and dusted with a translucent white gel to represent reflection.
(Close up of Koi)
In full light, I’m sure that it will sparkle more.
Earlier, I was reading a book on Otto Dix and his experiences in the First World War. I had a doodle I’d started yesterday with swirls of red. I looked at it after reading the book, and saw a man in desperate fear within the swirls. I tried to turn what I saw into what you see. I kept the eyes I’d seen in the red swirls and put them behind the mask of the man advancing in a cloud of poison gas.
Here’s a close-up
Although it’s what I call a filler piece, until I get my next big idea, I wanted to convey raw, unsettled emotion; fear, creepiness, the hopelessness of war, and so on.
I’d like to hear your opinion.
I went ahead and signed this one because I don’t know when, if ever, I’ll get back to it. It’s a nature piece, dealing with the mystical forces surrounding the entity that is Mother Nature, both from a pagan and artistic perspective. She’s never really portrayed as a creature one wants to be around; rather, people would rather just appreciate her children. This is why she is depicted as serious, even of stern visage, in my portrayal of her.
Once again, the vision in my minds-eye did not match what came from my hand, so I will have to keep trying. The exercise in the piece was lighting from multiple sources, the plant, emanating the energy of its birth, the right, and from above, representing the night. One can see faint traces of it in the downward strokes of the background.
Vitals: 18 x 24 acrylic on canvas.
Comments are welcome, more so if they go beyond “this is total rubbish”.
I originally was going to use this as a background for a Halloween painting. Halloween has come and gone, and so I decided to let it stand on its own. Most people don’t appreciate the woods, but every time I’m in nature, I feel that connection between man and the environment. So, while the painting may be boring in a media-filled, sound-byte ridden world, I think there’s a certain peace to it.
New techniques to be found in this? Linear painting, maybe? I’m mostly practicing things I’ve developed in the past. The hardest part of art , in my opinion, is getting light right in the woods, as there are so many contrasting areas of light and dark colors. Throw in streaming sunlight and one is tempted to cast aside the brush and bow to nature’s perfection. This is an imperfect representation of that beauty.
18 x 24, acrylic on canvas. Part of the closet series.
Unity, 2016
Firefly, 2016 (A light-based, 3-D Painting / Sculpture)
