Painting #5, Numinosity's Rune, Part of July's Show, Patterns of the Forest, featuring highly gestural paint strokes with a fluid, dendritic marks With the show installation now only two weeks away, final stages of show prep are running at full speed. All the paintings will have their edges painted, a standard practice for me now, after discovering how beneficial the technique is for finalizing the look of a canvas without the need to frame its outside edge with wood. I've

In developing a kit of parts or a suite of tools, it becomes easier to tackle new puzzles. Instead of reinventing the wheel each time, falling back on a kit of parts, individual components can be repurposed based upon their strengths and advantages in order to achieve a novel goal. For the forthcoming July show and recent explorations, the theme of adaptability within the art itself is a strong theme, and how that adaptability is achieved is becoming its on kit of parts. Af

Some of the books from Smith's Art Library, Not shown are the books at home which extend to include, Van Gogh, Thompson, Klimt, Edlefelt and Derain, and later additions to the pile of Signac, Maurice Prendergast Today I am starting a fifth forest painting with the hope that it will become a fourth pattern and sculpture. As I tinkered with my most recent painting (#4 of the series), I found myself torn about the balance of light and dark, and overall complexity within the fore

The Frame Matters. I used to think not, but I am now convinced this is indeed to be true. Looking back, it has been just over a year that I started experimenting with various framing systems and approaches, and three years since I started my first gridded landscape or Landscape Mosaic painting. The initial purpose of the gridded work has ironically yet to be fully realized. Originally, I wanted to be able work larger while traveling, and the gridded approach was seen as a