The Print Store is Now Open

I have finally added a Print Store to my site. One can now check there to see if a print of any artwork on my site is currently available for purchase, as well as make a purchase. 


All prints are produced with archival pigmented inks. Payments are processed using a secure payment service provider. Limited editions come with a certificate of authenticity and are hand-signed by the artist with edition number. To see a complete list of policies, please go to: Policies.

Notes 1.10.17: Good Riddance, 2016

2016 was a shit year. There is no other way of putting it. I say this for personal reasons, as well as the events that unfolded in this country and around the world.

I try not to get political here. Therefore, I don't have too much to say regarding the disgusting treasonous racist misogynistic orange pile of walking talking excrement that was not elected by a majority, yet installed by the antiquated electoral college, to be president.

Except that is to say: could one ever in the past, have imagined a scenario in which an individual who is to assume the presidency of the United States, as well as a substantial segment of the populace, would show such a lack of care or concern over the clear and overwhelming evidence of foreign interference in an American election - our most sacred and fundamental institution?

This quote by John Adams seems to be the best way to sum up our current state of affairs:

Remember, democracy never lasts long. It soon wastes, exhausts, and murders itself. There never was a democracy yet that did not commit suicide.

#TrumpIsATraitor    #LoveTrumpsHate    #NotMyPresident    #NEVERMyPresident


On to other things...

Looking back on this past year, 2016 was a year of experimentation and development for me. Now that I've been through that, I'm hoping 2017 will yield more finished work. Among the many images I have in process, I have been revisiting some older images and reworking them. One of these reworks, “Bare”, is now completed.

The reworked version has been uploaded to the Various Works gallery. The previous version was more photographic, but I decided I would like to create a version that was a digital painting.

In this version, I was more interested in painting expressively and exploring texture. I plan to continue more digital painting with an emphasis on both going forward.

I also changed a couple of photographic works, “Clouds I” and “Clouds II”.  I'm hoping to add more of these soon.

Lastly, I hope to finish the first of a new portrait series soon.

So, more to come...

Notes 9.13.16: Time (or the Lack Thereof) and the Birth and Death of a Series

I have too many ideas and too many pieces I wish to work on and too little spare time to work on them. I need a wealthy patron.

Despite there being a couple of additions to the Vanitas series in the works, I have not been able to progress with that series in quite some time. And now, as often becomes the case with me, I am thinking of changing my original intent of that series and possibly the name along with it– or scrapping it entirely and just starting a new series altogether to take its place…

I have eclectic tastes and inspirations, and a shifting interest in exploring different ideas…but unfortunately not enough time to delve into all of them. Not fully. Not in the way that I wish. Which means, unfortunately, some things get put on the shelf for long periods of time, or just abandoned entirely. I seem to always want to explore several series ideas at once. I guess I like the idea of a series, generally speaking. To explore a concept or visual language in depth; letting it evolve "organically" over time.  But not having enough time to fully explore some of them, or give them equal attention, means that some series evolve very slowly…or I lose interest.

Of course this hasn’t dissuaded me from the two new series’ I am currently working on starting…

Notes 6.13.16: Figure+Form, Works in Progress, Digital Art and Traditionalism

In contradiction to my New Year's resolution, I have been missing in action from this blog. I wish I could say that it has been all due to life throwing obstacles in the way, but that is only partially true.

Despite the aforementioned obstacles, I have managed to work steadily this year, so far. A lot of my time has been experimenting; there is a new series I am developing which I hope to unveil soon. I seem to want to do a number of different series. I can't help it; I have varied visual interests.

I also recently completed the 'sister images' “Figure IV” and “Figure With Red”. “Figure IV”, which originally was to be titled Figure in Red, went through a few metamorphosis before becoming what it is now. Ironically, “Figure With Red” was the result of a happy accident while creating “Figure IV”. Don't let anyone tell you the happy accidents are somehow lost with digital media; I have had many. When turning off some layers to check something, I turned off the wrong ones and liked what I saw. It wasn't quite a Figure + Abstract image, at least not where the series is now, yet I liked it so much I wanted to keep it and create more, and so the Figure + Form series was born. Though it came out of the Figure + Abstract series, the Figure + Form series will be a different type of exploration.

I have several, too many in fact, pieces I am working on that are in various stages from barely there to almost complete. Some of which (gasp) do not belong to a series at all.

Figure IV

Figure IV

Figure With Red

Figure With Red

Lately, since in recent years my work has increasingly become more and more of a mixed bag of traditional media combined with digital painting and photography - and I have been going deeper into digital painting itself, I have been thinking about how to describe or categorize my work. Perhaps it doesn't really matter in the end. I have to point out an excellent article I ran across: A Defense of Digital Painting (and Digital Art in General) by Eric Wayne. The article is from 2014, but very relevant.

I pretty much agree with every point he makes about the biased elitism, snobbery and nonsensical arguments made by traditionalists against digital art. Though Mr.Wayne's article mirrors my views exactly, he articulates them much better than I could. The attitude he pushes back against are unfortunately all too prevalent. I remember a certain photography oriented site I used to go to years back, full of the same self-satisfied elitist traditionalist types of photographers. I always found that to be funny, since there was a time when photography was a newer medium and the same narrow minded attitudes were leveled against it that today are directed towards digital based work in certain quarters.

Notes 9.18.15: Figure+Abstract, Morbid Anatomy, William Mortensen, the Louvre and the New Whitney
Ashokan Reservoir, NY III

Ashokan Reservoir, NY III

So, apparently my image, “Ashokan Reservoir, NY III”, was on display in the Louvre a couple of months back and I didn’t even realize. Last month, I received a message which started: “We were thrilled to include your work in the digital display at the Louvre on July 13th as part of the Landscape Collection.” I have to admit, I remember entering this landscape thing on See.Me, but after discovering there was some kind of social media popularity voting component to it, I was turned off and didn’t really pay attention to any of the subsequent messages in regards to it. I was surprised then to be informed that my image was among those that were on digital display. I guess I can officially say I had my work exhibited in the Louvre, if only for a moment…

Figure III

Figure III

It has been a strange taxing couple of months. In truth 2015, you have not been a good year so far and the summer has been too hot and too long. Nevertheless, I have felt generally productive and focused, in an artistic sense. Most of my attention has been on my Figure + Abstract series. I recently finished “Head III" and “Figure III”.  “Figure III” in particular had been a bit of a trial to create, having been started, scrapped and restarted, perhaps three or four times before its final incarnation. I wonder if the “Figures” of the series are always going to be such a difficult birth, so to speak, as I had similar difficulty creating “Figure II” until its final manifestation.

Currently I am working on another, tentatively titled Figure in Red which incorporates the same combined elements of digital and analog painting, drawing, etc. However, I have experimented with some new techniques in its creation especially regarding the manner of how I used Corel Painter. I must say this about the process of creating the Figure + Abstract series so far – there are reactionaries that reflexively assume digital media has somehow brought an end to the “happy accident” – this is not so, I have had many happy accidents in the creation of this series regarding the digital elements.

I have also been doing some preparatory work for a different new series that I wish to explore and I wish to also continue with the Vanitas series that I started. Time for a little darkness, I think...

Speaking of darkness, last month Sarah and I visited the Morbid Anatomy Museum in Gowanus, Brooklyn. We saw their exhibition Opus Hypnagogia: Sacred Spaces of the Visionary and Vernacular. Overall I enjoyed the exhibits mix of occult, art, curiosities and elements that are a bit, in truth, campy. The museum occupies a nice space housed in a building with a black façade that stands out in the industrial area of Gowanus. We discovered the museum by chance a couple of weeks before we went and I have to say, I am a bit thrilled that such a place exists in Brooklyn.

Among the most interesting work on display was the work by William Mortensen, a photographer who created photographic manipulations in the Pictorialist style and whose work went from being widely known to obscure, in part due to the disdain of photorealist purists such as Ansel Adams.  These early fantastical photo-manipulations were great to see as they predict so much of what is going on today including some of what I do in my own work.  When I used to work in analog photography only, I was much more interested in the labor intensive darkroom techniques that came with manipulation and experimentation. Mortensen wasn’t focused on representing strict reality. He was more interested in psychological and emotional impact and also exploring the imaginative; something I can relate to.

Lastly, Sarah and I went to the new Whitney Museum last month.  We had a very good time.  Visiting the Whitney’s old space within the Brutalist building designed by Marcel Breuer always felt, perhaps as to be expected with Brutalism, like one was within somewhat of a dark fortress.  I can’t say I didn’t like the Breuer space overall, but it didn’t exactly “flow”. However, before visiting the new space I was a little hesitant that I wouldn’t care for the crowd pleasing elements to the new design that I was reading about.  So often pandering to the crowd means a race to the lowest common denominator, and consequently, mediocrity.  The new space designed by Renzo Piano however was impressive. It is definitely not dark, with its many windows and terraces offering views of the surrounding neighborhood, including the High Line, and the Hudson River. In many ways it almost seems like the opposite of the old space to me. Most importantly, the space seemed to showcase the artwork quite well.  I enjoyed the inaugural show, a retrospective taken from the Whitney’s collection representing the history of art in the United States from the start of the 20th century to the present.  We even had a tasty treat and very good coffee at their café.