18" x 24"

Acrylic and mixed media on wood panel

Key Themes  Evoked in this Painting

• Connection & Interdependence:
  The web of lines and circle arrangements naturally allude to human relationships, networks, and the bonds that tie individuals within a collective.

• Cycles & Nature’s Rhythm:
  The repetition of 12 circles mirrors universal cycles—months of the year, seasons, phases in nature—suggesting the enduring rhythms and flows that shape life.

• Individuality within Unity:
  Each circle boasts its own unique color and texture, symbolizing personal identity and selfhood, while the grid and linking lines highlight belonging within a greater whole.

• Growth & Transformation:
  The layering, overlapping forms, and evolving internal details celebrate processes of change, emergence, and renewal tied to both personal and natural phenomena.

• Joy, Wonder & Discovery:
  The playful color contrasts, energetic mark-making, and dynamic composition invite curiosity, optimism, and a sense of exploration.

• Balance & Harmony:
  Despite each element’s uniqueness, the composition is visually balanced, fostering a sense of peace, order, and completeness.

Emotions 

• Hope & Optimism:
  Through lively brushwork and radiant color, convey the possibility of renewal and positive connection.

• Belonging & Togetherness:
  The linked circles reinforce sentiments of solidarity, inclusion, and mutual support.

• Contemplation & Peace:
  The organized repetition and soothing color transitions offer calmness and meditative balance.

• Exuberance & Creativity:
  Celebrate spontaneity, playful invention, and the joy of creative expression.

   

This painting is compared to the previous painting in this blog -

 

Composition and Structure

• Both paintings share a fundamental structure: a geometric grid featuring 12 prominent circles arranged in rows and columns.

• New painting (Image 1):

  • The upper section of the composition is divided, with layered squares and rectangles, and contains several circles and arcs outside the main grid. This part is busier, incorporating collage-like textures, lines, and overlays.

  • The circles in the grid feel less uniform in treatment, with each containing more individualized details—such as polka dots, squiggles, overlays, or contrasting colors and markings.

  • Additional medium and small circles are scattered around the grid, creating a livelier and more complex spatial dynamic.

• Previous painting (Image 2):

  • The grid of 12 circles dominates nearly the entire field. The circles appear more consistently treated, mostly similar in size, outline, and internal cross markings (yellow lines and sketch-like texture).

  • No external decorative circles or intensely layered squares are visible outside the main grid.

  • The overall composition is more rigid and centralized, maintaining an even visual rhythm.

Color Palette and Mood

• New painting:

  • Features a much greater variety and vibrancy in color—especially in the top segment, which includes bright yellows, reds, pinks, and fresh greens.

  • Circles are differentiated with vivid interior details, pinks, whites, and light green shapes, bringing energy and contrasting elements into the facial grid.

  • The background has a richer, more dynamic layering of colors, with visible brushwork, patterns, and overlays.

  • Mood: Playful, energetic, with a sense of creative experimentation and movement.

• Previous painting:

  • Employs a more restricted, earthy, and subdued palette—browns, olive greens, slate blues, pinkish-mauves, and muted golds.

  • Less differentiation between circles; most share similar internal textures and colors, relying primarily on subtle shifts in hue and value.

  • The grid’s background is more uniform, with fewer dramatic overlays or color breaks.

  • Mood: Meditative, harmonious, with an emphasis on order and serenity.

Texture, Mark-making, and Layering

• New painting:

  • Displays a greater range of texture and mark-making. Scratched lines, layered collage, and gestural marks create tactile complexity across the canvas.

  • The upper half’s use of geometric overlays, scribbles, and transparent washes gives the work an almost collage-like or mixed-media feel.

  • Circles vary internally—some with dots, crosshatching, or bold bands—emphasizing individuality.

• Previous painting:

  • Mark-making is subtler and more uniform. Most circles contain similar scratchy lines and cross marks, with thin outlines (sometimes blue, sometimes maroon or green).

  • The painting as a whole feels more painterly and less collage-driven.

  • The surface is visually quieter, giving space for the eye to rest.

Symbolism and Interpretation

• New painting:

  • The diversity within the circles, the lively overlays, and the distinct dual-zoned structure (top panel vs. grid) invite multiple readings: nature’s chaotic abundance, the interplay of order and unpredictability, or a confluence of individual and collective experience.

  • The addition of circles and elements outside the grid softens the sense of strict order and hints at growth, discovery, or “stepping outside the box.”

• Previous painting:

  • The repetition and uniformity stress unity, balance, and completeness—emphasizing holistic cycles and universal rhythms.

  • The absence of “external” elements keeps the focus on collective harmony and order.

     

    The arrangement of circles in this painting significantly shapes how viewers interpret the work, inviting a range of associations and emotional responses:

    • Order vs. Freedom: The grid structure brings a sense of organization and systemic unity—evoking calendars, scientific charts, or communal networks. This encourages viewers to interpret the circles as integral parts of a larger order, such as cycles in nature, the passage of time, or interconnected communities.

    • Visual Rhythm and Movement: The subtle variations in spacing, size, and internal detail within each circle create a lively visual rhythm. This guides the viewer’s eye across the painting, fostering a sense of movement, pulse, or the dynamic flow of relationships and interactions among the circles.

    • Balance of Individuality and Collectivity: Although the grid establishes overall harmony, each circle’s unique colors, textures, and marks highlight individuality. Viewers may interpret the artwork as a metaphor for diversity within unity—showing how unique entities coexist and contribute to a cohesive whole, much like members of a community or elements in nature.

    • Connection and Interaction: Lines weaving between and among the circles reinforce the theme of interconnectedness, making it easy for viewers to connect the composition to ideas of human relationships, shared experiences, or mutual support.

    • Symbolic Resonance: The repetition of the circles draws associations with time (months, hours), natural cycles, or spiritual symbolism of fullness and completeness. The circles themselves—traditional symbols of wholeness and infinity—enhance this sense of enduring cycles and cosmic harmony.

    • Breaking Boundaries: Any deviations from strict symmetry, such as overlapping or offset circles, or the inclusion of additional forms outside the grid, suggest outward growth, exploration, or transformation, prompting viewers to think of evolution, boundary-crossing, and creative emergence.

    Ultimately, the arrangement invites viewers to interpret the painting as an exploration of structure and spontaneity, unity and difference, order and transformation—all central themes that the eye discovers in the intricate play of circles, lines, and color. The visual design becomes a catalyst for contemplating the rhythms, relationships, and cycles that shape both nature and human society.

     

 

 18" x 24"

Acrylic and mixed media on wood panel 

NFS 

This dynamic mixed-media painting offers a compelling exploration of structure and spontaneity, making it a significant piece for a discerning collector. While abstract in its execution, the artwork delves into a profound sense of realism that is rooted in experience, memory, and the very process of its creation.

At first glance, the composition is anchored by a grid of twelve circles, each a unique microcosm of color and texture. These circles, rendered in a sophisticated palette of muted earth tones, suggest a sense of order and containment. They can be interpreted in numerous ways, reflecting a kind of conceptual realism:

• Portals to Memory: Each circle acts as a window, a contained memory or a distinct moment in time. The varied colors and interior markings, particularly the golden lines that resemble crosshairs or ancient symbols, hint at the unique significance of each captured experience.

• Studies in Human Connection: The circles can be seen as representing individuals within a larger community or network. The meandering white and yellow lines that weave between them serve as the threads of connection, the shared experiences and invisible bonds that unite us.

• The Blueprint of a Life: The entire canvas can be viewed as an archaeological map of a lived experience. The heavily layered and textured background, with its drips, scrapes, and energetic brushstrokes, speaks to the passage of time and the accumulation of history. The circles, then, are the significant landmarks on this personal map.

The realism of this piece lies not in a pictorial representation of the world, but in its honest and raw depiction of process. The hand-drawn, imperfect quality of the circles and the energetic, almost chaotic, application of paint in the background create a tangible sense of the artist's presence. The viewer can trace the artist's movements and decisions, making the act of creation itself a central theme. This is a realism of emotion, of thought, and of the human touch.

The tension between the geometric structure of the circles and the organic freedom of the background creates a powerful visual dialogue. It mirrors the way we strive to find order and meaning within the beautiful chaos of life. This is a work that will continue to reveal itself over time, offering new interpretations and deeper connections with each viewing.

The 12 circles in the painting powerfully symbolize unity and wholeness through their composition, repetition, and interconnectedness. Here’s how these visual elements work together to convey these themes:

• Repetition and Order: The deliberate placement of the circles in an organized grid hints at structure and completeness. Twelve is a significant number, often associated with cycles (e.g., months of the year, hours on a clock, zodiac signs), which deepens the sense of universal wholeness.

• Interconnected Lines: The white, flowing lines weaving between the circles bind them visually, suggesting connectivity. These energetic threads imply that each circle, while distinct, is an integral part of a larger collective—reinforcing a sense of mutual reliance and togetherness.

• Visual Harmony: Although the circles differ in color and texture, their similar size and consistent spacing create a harmonious balance on the canvas. This visual harmony mirrors unity, as the individual differences coalesce into a single, coherent whole.

• Wholeness Within Each Circle: The recurring motif of lines and markings within each circle implies inner complexity, like microcosms that contribute to the macrocosm of the piece. Each is both self-contained and part of the collective identity, reflecting the idea that wholeness exists at both individual and group levels.

• Symbolic Associations: Circles traditionally represent infinity, completeness, and unity in art. By using this form repeatedly, the painting draws on these associations to subtly evoke a sense of universal oneness.

In summary, the arrangement, interconnected design, and symbolic power of the circles work together to make the painting a compelling visual metaphor for unity and wholeness—showing how individuality and collectivity coexist seamlessly.

This abstract painting evokes a sense of realism—despite its clear non-representational, abstract style—by using visual cues, forms, and structural references that resonate with the viewer’s experience of the tangible world. Here are the key mechanisms at play:

Circles as Recognizable Objects:
The primary motif—twelve circles—though not literal depictions, is deeply rooted in the visual language of realism. Circles are shapes found throughout reality: clocks, coins, planets, cellular structures, and more. By using circles, the painting taps into viewers’ subconscious associations with these real-world objects.

Grid Arrangement:
The almost-gridded, orderly placement of the circles across the canvas recalls human-made arrangements (windows, cabinets, calendars) as well as natural ones (the cycles of months, hours, or seasons). This structured design is a hallmark of realism, suggesting order and logic akin to maps or scientific diagrams.

Earthy Palettes and Surface Detail:
The painter’s use of muted, earthy tones (taupes, olives, slate blues, dusty mauves) gives the circles a sense of volume and materiality, hinting at stones, planets, or weathered surfaces—familiar textures found in the real world.

Surface Markings and “Wear”:
Each circle is embellished with lines, cross marks, and subtle shading, evoking the way real objects accumulate marks of time and use. These details give the illusion of tangible surfaces and depth, enhancing the sense of realism in an abstract format.

Overlaps and Layering:
The use of overlapping lines and transparent color washes creates a sense of depth and spatial relationships reminiscent of how objects exist in physical space—foreground, background, and the interplay between them.

Shadow and Contour:
The irregular contours and darkened outlines around the circles echo shadows and light, further reinforcing a pseudo-three-dimensionality that suggests something real and volumetric.

Allusion to Time and Nature:
The repetition of twelve circles is not random—it hints at systems we know from reality (twelve months, zodiac signs, hours). This allusion to natural and human cycles grounds the painting in the rhythms of the real world, even as it remains abstract.

By skillfully fusing abstract techniques with allusions to the forms, structures, and textures of our lived environment, the artist blurs the line between pure abstraction and the suggestion of realism. The viewer is invited to “find” reality within abstraction—to perceive echoes of real things, systems, and tactile experiences within a non-representational framework. This interplay is what gives the painting its evocative power and connection to the real world.

 

 

 

 

4" x 4" - small paintings

$50 each

Acrylic and mixed media on wood panel

This is an exercise in playing with color and contrast. Complimentary colors along with black and white drawing helped me achieve contrast and repetition along with harmony across both paintings.

 24" x24"

Acrylic on wood panel

$1250

This painting has been reworked from an older painting from "Off The Grid" series.

 Many famous artists throughout history have reworked their own paintings, often multiple times. For example, Vincent van Gogh famously reworked his painting "The Potato Eaters" multiple times, eventually creating a lighter and brighter version of the same subject matter. Similarly, Pablo Picasso reworked his painting "Les Demoiselles d'Avignon" several times over the course of several years, experimenting with different approaches and techniques until he was satisfied with the final result.
Another example of an artist who reworked their own painting is Edgar Degas. He often revisited his paintings, making subtle changes to the composition and color palette over time. One of his most famous works, "The Absinthe Drinker," underwent several revisions over a period of twenty years, with Degas making significant changes to the figure's posture and expression.
Finally, the iconic artist, Frida Kahlo, often reworked her own paintings, adding or removing elements depending on her changing emotional states. For example, her painting "The Two Fridas" underwent significant changes before the final version was completed, with Kahlo adding details such as blood and a surgical instrument to reflect her own physical and emotional pain.
These examples demonstrate that reworking one's own paintings is a common practice among artists, and can lead to significant improvements and growth in their artistic ability.

Woven Into The Landscape

 

Woven Into the Landscape

24" x 24"

Cradled wooden Panel

$1,500

"Woven Into the Landscape" is a mixed media acrylic painting that explores the idea of gestural lines. Gestural lines are spontaneous, rhythmic, almost animated. These lines are dynamic and have energy, not slow and controlled. They have a sense of vitality and freedom, almost like a dance.

 

King of Hearts

10' x10" Framed size

mixed media on wooden board

$300 for the set

The King and Queen of Hearts. 

I have always wanted to paint the characters in a cards deck.

Disney characters, comic characters, Alice in Wonderland characters so here is a small 6”x6” painting of the King and Queen of Hearts. This is intended to be a fun set and would be a cool feature in any room. It is mixed media on wooden board. Original artwork.

Makes an excellent gift for fans of pop culture, poker players, romantic couples bedroom decor.