Today at the Washington Midsummer Faire, I completed a painting titled “Spice Conspiracy.” The piece captures a mysterious gathering of crows and a curious cat, set against the backdrop of a large pumpkin. The dark, moody colors and sharp contrasts hint at a secretive plot, while the small bucket labeled “Spice” adds an element of intrigue. The expressive eyes of the animals suggest they know something we don’t, drawing the viewer into a world where even nature conspires.
From the imaginative halls of the Flights of Fancy Gallery in New York City, the latest exhibition presents a captivating painting that invites both admiration and contemplation. Titled “Ember’s Embrace,” this piece is a striking exploration of contrast and emotion.
The artist employs a vivid color palette that masterfully captures the ferocity of fire against the tranquility of a forested backdrop. The night sky, awash with hues of purple and speckles of white, suggests a cosmos that is both distant and intimately connected to the scene below. The foreground is dominated by a fiery silhouette that seems to draw energy from the flames enveloping it, creating a focal point that is as enigmatic as it is commanding.
“Ember’s Embrace” showcases a blend of techniques, with textured brushwork that adds a tactile depth to the forest, contrasting with the smoother strokes that define the figure and flames. This juxtaposition can be seen as a metaphor for the chaotic nature of life and the pursuit of inner stillness amid turmoil.
However, the composition does leave room for improvement. The balance between light and shadow is somewhat uneven, with certain areas of the forest receiving less definition, which detracts from the overall depth. Additionally, while the central figure is mesmerizing, its contours and the interplay with the flames could be refined to enhance the illusion of movement and transformation.
In conclusion, “Ember’s Embrace” is a commendable piece within the imaginary Flights of Fancy Gallery’s collection. It demonstrates the artist’s bold use of color and their ability to invoke emotion through abstraction. While certain technical aspects could be honed, the painting remains a testament to the enduring power of art to evoke wonder and introspection.Forest
So what’s it about. It’s kind of all contained in the title. Sometimes one can be surrounded by the trappings of wealth and power but still be utterly shattered. It’s not a defense of the rich, because (censored) them, its more about how one can be in a situation where, to an outsider, they should … Read more
Never try to pose with your cat for the sunrise, they told her. They’re mischievous and will not sit still. She didn’t listen and the prophecy came to pass. Not my best work, but I needed something to balance out the sunrise in her eyes and since I did a girl and her dog yesterday, … Read more
So Coleridge’s poem Kubla Khan (1797) envisioned a pleasure palace with dark undertones. The work was totally influenced by an Opium high. Opium, the Black Tiger, was heavily traded in China, the Tiger of the East. But enough history and Literature – this digital artwork is also heavily influenced by the 1980 movie Xanadu, with Olivia Newton John. “Who,” the younger ones ask? “Get off my lawn!” This movie was iconic in that it introduced me to the Greek Muses. Although they never physically popped out of murals to guide me, stupid childhood dreams, I do reference them occasionally in my work. Now, the artwork didn’t start off as art imitating performing arts, imitating poetry, imitating life – it just kinda developed after the song Xanadu popped up in my disco playlist (I listen to everything). The original concept was to see if I could build a tigers face from performing artists – stupid, I know – boredom does that. I’ll let you tell me if that worked. Anywho, creating this killed a few hours of my life, much like Coleridge and his opium addiction. Hope you enjoy!
A digital painting for our times. The subject can be anyone in modern America, a veteran, someone with PTSD like a victim of sexual assault, someone financially ruined by medical bills or loss of a job, or a victim of mental health issues or addiction. Homelessness is not discriminatory, it can affect anyone with red blood running through their veins. The sad part is that most people will help a dog or cat out in the cold before they help their fellow man, hence the title.
I had to render this three times. Winter is a challenging thing in digital art. My first render I noticed 1.5 hours after starting it, that I forgot the effect of breathing in winter. It was a challenge to create, I ended up using a cloud with a lot of tinkering. 1.5 hours after the second render, I realized by looking at the reflection in his eyes that there needed to be a figure there to add that Je ne sais quoi, so there is an entire part of the scene you don’t see just to get that reflection. Yes, it’s a bit OCD for something that will be seen by maybe 10 people, liked by 2 🙂
Fey-tal Attraction. Before decimating birds and other yard species, #cats took out the neighborhood #faerie / #fey population. #art #digital #new #kitten #feline #fairy #fantasyart
Here a #beautiful #witch plays with her #kitty on the #bed and it’s quite #magical #digitalart #new #modernart
I initially hated this, but it’s starting to grow on me. I have to add Cats to creatures I can’t do photorealistic paintings of. I can, of course, take a cat and make a similar looking one but exact likeness – not yet.
There’s lots going on in the painting; direction of stroke, color theory and so on. I don’t know what that means, because I didn’t got to RISD, but it makes me sound like I know what I’m doing, haha.
If you like it, please share. I can’t sell it, because my mom saw it and laid claim to it. If you would like me to paint your cat or kitten, please contact me.
18 x 24 Acrylic on Canvas.
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.