"No Turning Back"

24" x 48"
acrylic on canvas

My latest. More personally influenced than some of my previous ones, part of the idea stems from the realization that experiences present themselves because they are there to teach us about ourselves. We've all had our share of experience, good and bad, and, odd as it may seem, it's the harder ones that eventually leave us with a feeling of gratefulness for them in the end, because of what they showed us, what they taught us, and the positive ways in which they ended up shaping us.

This painting is about new beginnings, when we come to terms with things past, and move on once and for all. While it may seem strange, maybe even negative at first glance, it is, in fact, positive. Farmers burn their fields each year to cleanse the earth of any lingering diseased crops and prepare the land for re-seeding. So, like the way in which fire paves way for nature's re-growth, the flames symbolize purification and renewal. Will the house catch fire? That's where a lot of the suspense lies in this piece. The figure is not in the house. The swallows who nested in the upstairs room are leaving, too. All the living things are free. The house is old, decaying, a thing of the past. So maybe it will burn to the ground. She doesn't care. She broke the strings that tied her down, making her free to move on. As perilous as it looks, she's never felt safer. She's moving on, and not turning back.

Exploring New England

Last week, I had the amazing experience of visiting the East Coast. Thanks to my younger brother who is beginning college in Boston, I was able to finally make my dream of visiting New England a reality. Those of you wonderful folks who read this blog are, by now, probably well aware of my deep-rooted interest in early American history. So, imagine me finally being able to visit places like Boston and Salem, Massachusetts! Unreal and totally invigorating! And dare I mention inspiring? After doing illustrations for stories like The Crucible, The House of the Seven Gables, and Sleepy Hollow, you bet I was absolutely thrilled to be in the presence of the real things.

But, aside from trying to take in all I could in my quick day-trips to places like Salem and other surrounding areas, the place that will forever leave its mark on me is the Olson House in Cushing, Maine – the site and inspiration that gave birth to over 30 years of work by Andrew Wyeth. We all know his most famous work Christina’s World, the most beautiful, haunting painting to ever grace the face of American art. I remember the first time I saw Wyeth’s work. It was Braids, one of the Helga paintings, which I came across in a book back in high school. All I remember was sitting and staring at the image, wide-eyed with awe. A few years later when I was a senior, my teacher had hung a large poster of Christina’s World on the wall. It was the first time I had seen it, and I felt something I couldn’t explain. It still does the same thing to me today. And, after many hours of reading and researching the poignant and touching story of Christina Olson and her brother Alvaro (direct descendants of the Hawthornes from Salem), it’s no wonder why the Olson paintings are so powerful. When I was there, it all felt like a dream. Totally surreal. It still feels that way recalling it. It's hard to even find a place to begin describing it. Janice Kasper, Curator of Historic Properties for the Farnsworth Art Museum in Rockland, ME, explained it best in her introduction for Wyeth's retrospective of the Olson paintings at the Farnsworth back in 2000:

Over the past nine years, I have seen the effect "Christina's World" has had on the public through my association of managing the Olson house for the Farnsworth Art Museum. My very first experience involved a person who flew to Boston from North Carolina, rented a car and drove to Cushing to see the house after hearing that it had recently opened to the public, and drove back to Boston the same day. Since then, I have encountered many others who drove from out of state to see the Olson House and, after visiting the site, returned to their home towns the same day. Many remember seeing a print of the painting "in their school, or their home, or the doctor's office" and that strong image from childhood has remained vivid in their adult minds. Some are intrigued with the mystery of the woman in pink crawling up the hillside, while others being disabled themselves, or having relatives with disabilities, identify with the disabled Christina Olson. For some, the farmhouse on the hill is reminiscent of their parents' or grandparents' home in Iowa, Maine, or almost anywhere in the United States. The painting and the farm evoke pleasant memories of family times together, times of hardships, a time that was closely lived with the natural world. Through "Christina's World," people are intensely drawn to the old saltwater farm in Cushing, and like the painting itself, their reasons for being there are strongly felt but unexplainable. At the house, I have often witnessed people who are so overcome with emotion that they are brought to tears. Another common occurence is to have people linger the entire day at the site, not wanting to let go of the experience.

The Olson House brought me to Maine, and as a result, Maine won me over, too. The Wyeth Center at the Farnsworth Art Museum in Rockland, ME is a must-see for Wyeth fans, housing breathtaking originals by N.C., Andrew, and Jamie.

I have LOTS of pictures that I want to share with you all, so I uploaded them to Flickr (with captions) to make it easy for everyone to see. There you'll find my excursion to Salem, MA, where I spent a warm evening at the House of the Seven Gables and the birth house of Nathaniel Hawthorne, surrounded by a breathtaking harbor and lush gardens (unfortunately no photos were allowed inside the houses, but let me assure you, it is unreal! Filled with 300-year-old secret stairways, hauntings, and all!), and my misty Maine morning at the Olson House in Cushing, ME. New England is everything I expected and more.

To visit my online photo albums, click HERE.

Gagaguwon Pow-wow '08

During the last weekend of July, I had the pleasure of once again attending the annual Gagaguwon Pow-wow, held in Oscoda, Michigan by the banks of the beautiful AuSable River. Hosted by the Preservation of Native American Culture (PONAC) each year, it's an event I always make a point to attend, being an avid collector of native jewelry and a staunch supporter of American Indian artists. It was great to see the new traders that were here this year, and even more great to see some familiar faces that I had the opportunity to meet again. So, I spent my weekend absorbed in all the beautiful handmade goods, stuffed my face with signature Indian frybread, listened to moving prayers of thanks, watched dancers in their breathtaking regalia, and walked away with, not one, but a few new pieces of jewelry. As a result, I'm not allowed to treat myself to anything for a few good months, but oh well!! I probably can speak for a lot of collectors in saying that if you find something that you just know is for you, it's a good idea to grab it, because once it's gone, it's gone, and there'll never be another like it.

I started collecting only about two years ago, but it's growing slowly and surely, thanks to the artists and other wearers who help me along in what to look for in terms of craftsmanship and authenticity. I learn something new with each piece, and that's a major part of the beauty and thrill of it. Southwest Art magazine's current issue is the 2008 annual which devotes itself entirely to contemporary Native American art, and it's the best one I've seen yet. Check it out here. You can also visit PONAC's official website here, as well. Hats off to this organization for all they do! Migwich (thank you)!

"Jeppie"

24" x 30"
acrylic on canvas

A portrait I just completed for an upcoming competition of a great woman and dear friend of mine, Jeppie Scott-Cook. Jeppie is one of those people who I'm blessed to know, let alone call a friend. It's hard to find a place to start in beginning to describe this lady and the role she plays in the lives of people who know her. A person full of wisdom, and deeply rooted in her faith, there's never a day where Jeppie isn't wearing a smile or blessing people who cross her path.

Jeppie and I met a few years ago, and since then, I've been able to listen to her stories and hear her advice on all aspects of life. A single parent in her youth, who raised four children on her own while attending modeling school, Jeppie worked with dreams of making it big in the modeling industry. After completing, she got a call to fly to New York and begin her career, so she packed her bags and was ready to go - only to take one look at her kids and give it all up to stay and raise them. I think this one story alone is enough to give you a bigger picture of Jeppie's character. Being one whose personally gone through some rough patches in past times, I find her fun-loving attitude and strong spirituality to always be deeply healing, because aside from being plain fun to be around, Jeppie's real, she's been there, and like she reminds me, no matter what things come our way, life is a blessing, and it's only a matter of time before the bad will leave, and the good will come pouring in. Truer words couldn't be spoken, and it's a point I think we can all live by.

So, with that said, this painting serves as a tribute to one of the most beautiful people I know. Jeppie's love for the outdoors, the cross and scarf she always wears, and her exotic blue eyes are all the unique features I wanted present in this portrait. I also decided to hold back on some of the usual detail I put in my landscapes, choosing, instead, to keep it mostly solid and graphic so that the focus does not shift too far from the figure.

"Unexpected Company"

36" x 60"
acrylic on canvas













Here's the painting I completed some weeks ago that almost did me in (previous post). My largest to date, measuring 3 ft. x 5 ft., it was the roughest deadline I ever experienced, and I had the bruises to prove it! But, it was a challenge I've been waiting to take on for some time, and couldn't be happier with the outcome, despite all the bumps along the way. From changing the composition numerous times over, to beginning the actual painting on a smaller canvas only to trash it last minute and go bigger, etc., etc. It was quite a ride! I was touching it up, photographing it (a nightmare in itself for its size) and taking care of all the other countless tweaks before getting everything to the post office with only an hour left before the end of the postmark deadline. Boy did I feel invincible by the end of that day! Then it was finishing up a freelance job and off to New York City early the next morning for ICON5 (see more about ICON in my previous post). Those two weeks were the craziest I've had in a while, but, as usual, completely worth it.

The show this painting is done for is themed Caught In The Act, so looking at the subject matter, it's pretty suitable. Oddly enough, though, the idea for this painting was brewing in my head for a long time before I received notice of the show's theme. Perfect timing, I guess. My goal with this piece was simply to take what I did in The Guests to a whole new level. I was craving a complex scene, full of action and objects - as well as more figures in relation to animals. What's different with this one, however, is that even though the human figures in my works are usually the main focus, I chose to let the animals steal the scene this time, leaving the figures to take on more of a secondary role.

So, continuing along my usual lines of creating a narrative that is cohesive yet open-ended, believable yet bizarre, I wanted Unexpected Company to illustrate the concept of a meal gone strangely awry. Two sisters sit to dine only to have a congregation of creatures arrive uninvited, clawing to get their fair share, caught in the act by the viewer, who, in turn, gets caught in his/her own act of watching by the figure on the right, as well as an angry crow who doesn't want them to come any closer to his feast. Thus, I wanted this painting to really involve the viewer, engaging them in the act of "catching" all the subjects in action, while, likewise, being caught in the act of watching by the subjects in the painting, who take notice and respond. So, the need to create a composition that comes full circle in such a way that the viewer and painting come together, played a huge role in my decision to go life-size. Any smaller would not have achieved the impact I wanted. This one needs to be seen one-on-one in order to feel the energy.

Below are a few detail images. I'll post more information regarding the show as soon as I receive it.

ICON5 in the Big Apple

I had the great opportunity to spend the week of 4th of July with my CCS Illustration family in New York City where we worked the 2008 Illustration Conference (ICON). It was great visiting the Big Apple again, and a super experience to meet and work alongside so many great people. We worked and attended seminars by day, explored the city by night, and had an absolute blast! To find out more about ICON and what's it's all about, visit the official website here.

For all the DM fans out there . . .

Well, I've been painting around the clock this last week and a half, barely leaving my little studio for the last couple days. I got a few big projects going on, all due this upcoming Monday, so I'm at the easel 24/7 and pretty much out of touch with reality and the outside world at the moment. Among some of the things I'm working on is a new personal piece for a juried show, measuring 3 ft. by 5 ft. and I have to admit, it's taking a toll on me both mentally and physically. Aside from it being one with a more complex composition than some of my others, to try and pull it off in little more than a week's time on a canvas so large I can barely manuever it in my workspace, is pretty much doing me in. But the clock's ticking, and the brush isn't gonna stop until it's finished.

So, no new work to post at the moment, but I thought I'd take a minute and post these new, super cool music videos by one of my all time favorite bands - Depeche Mode. I'd say I'm pretty die-hard when it comes to their music, and my studio's rocking with their tunes this week. I LOVE synth/electronic music. Groups like DM, Enigma, and Delerium are among the ones that always top my list- I love all the different atmospheres the genre can create, especially when you mix in a little rock and an amazing voice. Dave Gahan, the voice of DM has a voice that's second to none. Whenever I hear it, I can't get enough of it. I was psyched to find out he also has a new solo album out. It really has some killer tracks; and while he still carries over a lot of DM flavor, it's different and cool in it's own way. I'll be running out to get it before the week's out! The two DM videos are from their recent stuff, and the two below are from Gahan's latest album, Hourglass. And, [putting my girly little crush on him aside ;)], these videos are pretty awesome! Precious is especially cool. It totally encompasses the feel of the music. DM Forever.

So if you're a fan, enjoy. I'll be posting the new stuff I'm working on by early next week.

CCS Exhibition: Fun, Friends, and ART!

The College for Creative Studies' 2008 Exhibition Opening took place Friday, and a great time was had by all! The Opening Reception and Sale is always a big event here in Detroit, with more art on display than most can get through in one night. I had the honor and privilege of meeting my wonderful collectors, and want to give a HUGE "Thank You" to all who came out and supported us this year!

Friend and fellow illustrator, Heather Miller and I enjoying the show.

The guys that help make it all happen . . .Don Kilpatrick and Dave Chow, illustrators at the top of their game, and two people whom I'm lucky to call my lifelong mentors and friends. These guys are the backbone and driving force of the CCS Illustration department, always putting in countless hours and energy day and night into teaching, aside from running their own busy lives as professionals. You guys absolutely ROCK!

Fellow illustrators Diana Skylacos, Nick Scarlet, Scott Daly, and I at the show.

Friend and fellow illustrator Sherrie Savage and I taking a minute from all the fun. Hats off to all of us involved for a great show!

CMYK article featured on ArtBistro

There's a recent article on ArtBistro.com about the current CMYK #40 issue that's out, with my Blackbirds Are Gathering painting featured in it. You can read the article and see it all here!

Big Update. . .

Wow, has it ever been a busy last few weeks! One more action-packed week ahead of me as I prepare for the College for Creative Studies' big Spring Exhibition (opening this Friday!), and then I'll be looking forward to some much needed relaxation - for a little while (then I'll be back at the easel like a madwoman!) Nonetheless, I'm loving every minute of it :-) Below are a few projects I've recently completed:

This is another bookcover I did. This time for John Steinbeck's To a God Unknown, a favorite of mine. A story rich in symbolism and mood, there was a lot of imagery to work with:

Ancient pagan beliefs, the great Greek epics, and the Bible all inform this extraordinary novel, which occupied Steinbeck for more than five difficult years. While fulfilling his dead father's dream of creating a prosperous farm in California, Joseph Wayne comes to believe that a magnificent tree on the farm embodies his father's spirit. His brothers and their families share in Joseph's prosperity, and the farm flourishes—until one brother, frightened by Joseph's pagan belief, kills the tree, allowing disease and famine to descend on the farm. Set in familiar Steinbeck country, To a God Unknown is a mystical tale, exploring one man's attempt to control the forces of nature and, ultimately, to understand the ways of God and the forces of the unconscious within. (Summary taken from Penguin Classics)

I wanted to touch on the novel's main point in a subtle way, but at the same time still allow room for some of the basic plot to come through. Book covers should always, in my opinion, just touch on the basic plotline, and leave the choice up to the viewer as to whether or not they want to find out more by reading the book. The job of the image is to be strong enough to arrest attention, and get someone to take the book off the shelf for a closer look. It makes or breaks it, because despite the saying, "you can't judge a book by its cover," quite the opposite is true when it comes to first impressions.

I find that a lot of the time, less is more, so some of my original ideas for this began as just a landscape with a strong focus on the tree. But, it felt a bit weak, and a little too obvious, so this is the result. With the central character being a man who's life revolves around his land - to the point where he sacrifices everything for it - I wanted to present him in such a way that reveals the unity he shared with his environment. Hence my decision to raise the composition of the high fields, so that he almost appears engulfed by them, ultimately becoming part of the landscape. Composing an image is one of my most favorite steps in the picture-making process. There's always so many ways to push an image in order to capture and send the right message. For me, it's always a matter of how much further I can push it each time.