This annual showcase of work by our Signature Artists is your opportunity to view and collect the best of the best! Featuring works in all styles and mediums, these artists show off their skills with blooming florals, seaside scenes, intimate portraits and dazzling abstractions. These brilliant artworks are sure to impress and inspire. Please enjoy the 2022 Signature Exhibition, on view at the Federation Gallery from August 29th t0 September 11th, 2022
I've just taken a look at the collection myself and what a pleasure to be featured alongside all these talented artists. I think you will agree that there are some amazing pieces in this collection.
I'm thrilled to disclose that the piece I have submitted has already been sold and will be off to its forever home once the show ends. My collector is patiently waiting to receive her gorgeous painting.
Having the support of collectors and the Federation Gallery has been a real boost to my career. Creating art, and more importantly creating a business from an art career is not for the faint of heart.
Throughout this whole journey I've known that my only goal is to stick with it, keep going, and keep improving my skills. When worry came up around finances, or promotion, or shipping concerns, I was continually reminded to "Just go paint Ciel." This is my studio mantra. It's really effective to get me back in alignment with what the whole point is. Creating beautiful art that inspires and uplifts my viewers and collectors.
Recently I've received some push back around how I gush all over my paintings. How I exclaim that "this one is gorgeous" or "this is spectacular." I've been curious about these negative comments towards my excitement. I think my comments can be seen as bragging, which if you read it that way, could be offensive.
The real reason that I gush all over my paintings is not because I want to stroke my own ego but rather because I'm genuinely amazed and thrilled with the painting. I often feel like I am simply the messenger. That the painting itself has a life of it's own and I'm simply the hands that make it happen. It's intuition and spiritual in nature and I simply follow the lead that I'm given.
These negative comments have energetically set me back. I'm tamping down my excitement in my posts and trying to communicate in a different way. The comments have been hard to receive and the push to communicate differently is likely the growth edge that I was needing. Will I never gush over a painting again, probably not. My online presence is about me and my art, and if I feel that a gush is appropriate then that is what I'll do. However, I do feel a shift and a reservation to sharing how I feel about my work.
I think it's human to want to avoid conflict or criticism and yet isn't joy what we are seeking more of? Does my joy for what I'm doing not equate to something wonderful? I guess this is the boundary between the excited artist and the art marketing roles. I spend hours and hours bringing a painting together. During that time there is a transformation in me that mimics the transformation on the canvas. I love it. I do get excited to share and I guess if people take offense then I really can't do much about that. I'm simply going to commit to my creative excitement and keep going.
I'm rambling now, what I really want to gush over is that this Signature Show and the pre-sale of my submission is a big deal. It's also a completely new experience for me. I'm pretty proud of myself. I'm also thrilled to be featured alongside other artists who are on this same journey of finding their creative voices through artistic endeavors.
When deciding on the size, shape, and location of a painting within a room, getting it correct can make all the difference. Too small and the wall looks empty, too large and the room can feel small. So how do we choose the right size of a painting for the given wall space? It's a great questions and one I want to explore a bit with you.
First of all, how do you feel about the location and size of this first painting? the things I notice right away are that the piece above the fireplace has a really great relationship to the size and shape of the fireplace and wall above. There is a nice space border around the piece of the art, with the art being hung just below the centre of the wall while being up about 6 inches from the mantel, really works well. Both elements have a bit of breathing room.
In addition, the paintings on either side of the fireplace also occupy the space beautiful. They are not hung at exactly the same height, as they are smaller pieces. You can see that by the bottom edge of the paintings are at different levels.
This painting that doesn't quite get it right. In terms of placement within the space, it is sitting too low. There is no breathing room between the fireplace and the painting itself. In addition, the beam or mantel from the adjoining wall, on the right, cuts into the space. Perhaps an off centre hanging would have been better or a grouping of smaller pieces so that the eye isn't distracted by the line of the mantel intruding into the space.
In this example the painting is right sized for the wall space and the width of the mantel. In addition, the colouring of the frame and subject matter go nicely with the rustic wood interior. I think this is a great placement and choice for this lovely mantel.
If you are hanging a painting above a sofa or bed, how do you choose a piece for that space? In this photo I think the proportions are way off. #1 the size of the matt around the painting is too wide on the sides. It really doesn't enhance the image, rather the painting is a bit lost within that white border. The black frame is a bit harsh too. #2 the size of the overall artwork is about 1/2 the width of the sofa, which is too small. You want to aim for 2/3 to 3/4 of the width of the sofa or bed that you will be hanging the piece above.
Here's a great example of a painting that is the correct size for the sofa it is paired with. Its close to the 75% of the width of the sofa, hung with 6-8 inches room at the lower edge and centred on the wall beautifully. The minimal frame, likely a metal frame, around the piece complements the painting versus drawing your eye to the frame. The colour of the piece also works well with the soft toned interior colour palette. This is a beautiful painting for the space, the correct size, and hung to the benefit of the other fixtures.
Here's another example. The painting is lovely as is the sofa, but the two do not pair together well. The painting is too small for the wall size and the width of the sofa. The width of the painting is closer to 40% of the total width of the sofa. The colours work pretty well, it's just the size that is distracting.
Here are two examples of using multiple pieces over a sofa to fill the space. They work really well. The overall width is appropriate to the width of the sofa and they are hung with a beautiful space between themselves and above the back of the sofa.
In the second living room 5 pieces have been hung with the centre of the paintings at eye level and spaced regularly across the wall. This is a beautiful symmetrical pattern and is proportionally relevant to the second largest piece on this wall, the sofa.
These pieces are also a nice combination to the sofa, however, they are hung asymmetrically and with variable spaces between them. I think this works really well because the colour palette is relevant to the room, the frames aren't too heavy and the entire grouping of paintings reads as one unit. Very nicely done.
Some helpful things to keep in mind. Leave 6-8 inches between the bottom edge of your artwork and the other large elements on the same wall. Your art should be 2/3 to 3/4 of the width of those other large elements which could be made up of one piece of art or several smaller ones. Keep the colours relevant to the room and choose frames that compliment without drawing all the attention to the frame.
When you hang art on a wall that does not have another architectural feature like a sofa, mantel or bed, then aim to hang your art with the centre of the piece at eye level. Eye level changes for each person however the ideal would be between 57 and 60 inches up from the floor. Aim for the lower end of the range if people in your household are shorter and the higher end of the range if they are on the taller size. Measure the width of the wall space and aim for the art covering 60-75% of that width.
These are guidelines and your interior is really up to you. Use your judgement and give these ideas a try in your own space. You might be surprised how moving your art around with these tips in mind could create a really pleasing space for you.
If you are looking for new paintings to fill these walls of yours you can view my available painting using the link below.
Leave me any comments you might have in the comment box.
A full-time art career, one that has you earning money from the sale of the art, is pretty easy. Make some art, find some people to buy it and viola, you have an art career. Easy.
Theoretically, this is how it works. In reality it is something a bit more involved.
The way I see it there are a few key steps.
1. Developing a consistent body of work does not mean you have to restrict your subject matter. You might be interested in landscapes and still lifes. That is totally okay. Simply present each genre as a group rather than a smattering of each. Think about collections. Group pieces by size, medium, subject matter, price, however you like. What is more important is to be dedication to actually do the work. If you are not willing to put in the time at the easel to allow your creative skills to develop then perhaps you want to keep it as a hobby. No judgement. Simply a truth. If you want to have a business from your art, you are going to have to treat it like a business, which means putting in the hours.
2. Your mental attitude towards yourself and your art contributes so much to the success you are likely to realize. Doubt is going to come up, fear is going to come up, that is normal. The questions is are you willing to believe something more productive? I like to suggest that you start collecting evidence of what you have accomplished. How many completed pieces do you have? How many pieces have you sold? This evidence becomes the antidote for the doubt. For example, if I am struggling with a piece and my doubt voice says "You can't do this." Then I'm able to look at all the other paintings that I have completed and change my doubt into "Yes, I can. Just look at all these that I have already completed." Ultimately our doubt is showing us that we are scared. We don't want to fail and we don't want to be ridiculed or criticized. Collecting evidence helps us change our own mind about what is possible.
3. A professional website is so much easier now days that it has ever been. If you are not techy, find someone to help you. If you can figure out how to upload an image from your computer and write some descriptions then take a look at Weebly (my #1 choice), Square, Squarespace (different than square) as a website platform. They are robust. In the case of Weebly there is a storefront built in so you can create items and connect to those items in your website. When someone clicks on an image of your art on your website, and that image is connected to your store, they will be taken right to the sales page where the purchase can actually happen. Very cool. Your website is your showroom. Clients interested in purchase art are going to search for your website. Which brings up another topic, wherever possible use your name for your domain name versus some unrelated name. Use www.janedoeart.com versus www.artbyjanedoe.com, or www.paintingsbyjamesdoes.com You make it difficult for people to find you when you put words before your actual name.
4. The most important thing you can do is start collecting email addresses from people who are interested in seeing your art. It's never too early to start this. Social media is great, but they are platforms that you do not own. They can disappear, they can change their rules, they can ban your site. If you are only growing your following on social media you leave yourself vulnerable. Your email list is something that is yours. You are in control of what you send out, when you send it out, and who you show it to. Very important. Now keep in mind email open rates vary, but you can reasonably expect 25-45% of the people on your email list will actually open your email. With Social media you have no idea how many of your 2000 followers are actually seeing what you post. The other piece of this is use an email provider that is designed just to send emails. Some websites have email services built in, but email sending is not their sole focus so the deliverability of those emails can be very low. A specific email service is much more reliable at actually getting your emails through the spam filters of your clients email hosts.
5. Have a way to collect money for the sales of your artwork. Now many people collect e-transfers when they make a sale. It certainly works. The drawback is that #1 clients have to be familiar with online banking, which a lot of people are not. #2 clients have to know how to set up a recipient in their e-transfer account. #3 setting all this up takes them away from the joy of purchasing and into the online maze that may have them decide it's not worth it. Instead, I recommend using Square. They have online credit card processing services at 2.9% + .30 cents per transaction, which is the industry standard. They also have a piece of hardware that allows you to use a tap device if you are making sales in person. (Cost= $50? This is a one time fee to purchase the device) This tap device processes credit and debit transaction. Debit transaction carry a little larger fee and take longer to process. However the ease that your clients can make a purchase is fantastic with this service. (Note: I avoid Paypal at all cost. It can be difficult to get your money from them, they hold funds for 5-7 business days, and there are hidden fees if you are processing US credit cards in Canada.)
6. Having a systematic way of showing people what you are doing and what is available is important. Figure out what feels good for you. I have no problem doing videos, so I'm choosing platforms that allow me to load videos and share content with my audience. I was considering using Pinterest as a platform recently and my gut feeling is that it's not a good fit for how I work. I prefer videos to curated still photo creation. The important part is to be consistent. How often do you want to post? What feels good for you?
7. What I find essential for the long term vision of my business is having goals that keep pulling me forward. This is a great way to avoid the immediate disappointments that may come up. If a promotion doesn't go exactly as you planned it can be easy to get discouraged and stop. With a goal in place you have something pulling you forward to complete. In my case, I have my work outlined for the next six months. I have paintings planned and my timing all figured out. Will I reach all these goals, no. It doesn't matter. I have a road map of what I intent to complete. This timing also helps me plan when a commission comes in. I can see what shows I'm committed to, or what I'm really set on completing, and easily slot in the commission once a juggle a few non-essential commitments later in the year. The other advantage to planning ahead is you can be thinking about and composing the emails that you want to share when it is time to start promoting your next series of paintings.
I hope this has been a help. Let me know if you have any questions by messaging me below.
If you'd like to speak personally to me about your art business, you can schedule a call here. I'd be happy to chat with you about what your goals are and what challenges you are having.
Once humans moved from being nomadic to subsistence farming, accumulated land and wealth, patronage was soon to follow.
Patronage, the financial sponsorship of artists by individuals or institutions, paved the way for some of history’s most enduring works of art—so much so, in fact, that history only began regularly recording the names of the artists themselves around the time of the Renaissance.
The first patrons were the religious organizations that were trying to share bible stories with a population that was largely illiterate. From there patronage moved to wealthy individuals who wanted to enhance their prestige and power. Art was the way they did that. They hired artists to create portraits that represented themselves, and their families in the best possible way. I've heard that before Anne Boleyn was beheaded a portrait of her with her family was created in an effort to show the French public what a devout mother she was. The effort was valiant and didn't change the outcome of her fate.
Art may have also been an early form of money laundering as wealthy individuals found ways to recycle their questionably acquired money into something tangible.
Two very well known names who had a strong patronage relationship was that between the Medici and Michelangelo; the Sforza family and Leonardo da Vinci. The Last Supper (Leonardo) and The Last Judgement (Michelangelo) being two pieces created under a patronage relationship.
In the 19th Century patronage relationship have evolved to support artists producing works without a predetermined buyer in mind. Artists making work on their own time and their own dime.
When Gustave Courbet had three of his 14 pieces rejected by the French academics for the "Exposition Universelle" claiming they were too large to be displayed, he boldly rented the building next door to the exhibition and displayed 40 of his pieces in his own exhibition.
Courbet turned the dismissal into his own opportunity. You see this all the time. Artists use their creativity to think outside the norms and create something unique that supports their work outside the normal structures. Courbet's exhibit is the first known solo exhibition. It led the way for Realism and Impressionist painters to have their own shows and have a greater stake in the sale of their artwork.
This fact is very interesting because it had not occurred to me that in my own career I'm following in the steps of Courbet with my solo show in the fall of 2019 and the direct sales to collectors through my studio and website. Very cool.
Ashley Longshore is a name that comes to mind as an artist who has paved her own way in modern times. She has been touted as a pop artist to rival Andy Warhol and who has challenged the business model of traditional art galleries.
She has partnered with Bergdorf's, the first female artist in the history of art with to do that. She has also paved the path for art and fashion to co-exist. I've included a link for you to check out her work.
So patronage, patron's support of artists has been an historical relationship that lives on today.
It's one that I have recently embraced in my business. I know I have raving fans all over social media and within my email list and yet purchasing an original painting is only one way those fans can engage with my work. I have just developed a 4 tier subscription that gives patrons the opportunity to receive beautiful stationery/gifts during the year or even an original painting - depending on the level of subscription they select.
I'm excited to walk in the shadows of Longshore, Courbet, Michelangelo and Leonardo. Continuing the legacy of great art getting into the hands of patrons who appreciate the skill, time and beautiful of the art that is created.
If you are curious about the subscriptions I have available, plans start at $5/month, you can take a closer look by clicking the button below.
First of all, brushes. A good brush is essential. I was introduced to Rosemary and Co Brushes a few years ago and they are the only brushes I now use. They are handmade in the UK, which you might think makes them expensive. Not the case at all. They are exquisite, and at $4-15 per brush, for the varieties that I use, I'm happy to have them shipped over.
What makes these brushes so delightful is that they hold their shape, they carry the oil paint really well, and leave very few brush marks behind. I love a smooth texture in my paintings so having a brush that doesn't leave each stroke in the paint is great.
Clean up is also really easy. I use plain old Linseed oil to clean my brushes with a touch of Murphy's Oil Soap for a deeper clean. With proper care these brushes will last a long time.
Next up: Paint.
Winsor & Newton Artists' Grade paint has been my go to paint over the years. I find the pigments to be rich and smooth. These paints blend really well with one another also. The only exception is the Titanium White, which is very stiff, so it requires a little thinning and more mixing with the pigments.
Winsor & Newton is not the most expensive paint, or the most exotic. Old Holland paint, for example, dates back to 1664 and the Dutch master painters like Rembrandt van Rijn, Johannes Vermeer and Frans Hals. I'm curious what it is like to paint with, however, at $109 for a 40ml tube of Cad Yellow, I think it will be awhile before I invest in this paint.
What I have explored is Gamblin Paint.
My idea is that the quality is a little higher than Winsor & Newton and the consistency of the paint is really lovely. The Titanium White from Gamblin is buttery smooth. My next painting I'm going to use Gamblin exclusively to see what difference it makes in the overall painting. Exciting. I'm looking forward to trying it out.
Mediums and additives.
This is a tricky topic in the oil painting world because there all sorts of conflicting opinions. There are those artists who have used additives for years and have no problem whatsoever. While others recommend not to use these same mediums because of longevity issues, delamination, yellowing over time, etc. To avoid the conflicting opinions and perhaps issues over time, I've decided not to use any mediums or additives beyond simply linseed oil. Linseed oil is the carrier oil the paint companies use for their pigments. This creates a harmonious union between the layers of paint that I use and will not have any trouble over time.
What I want to ensure is that when you purchase one of my paintings they are stable over time and if they need to be retouched an archivist can do that easily. If there are additives it can be difficult for a restoration to happen because those additives don't allow for future paint to be added or for the additive layer to be easily removed before the restoration.
My goal is to use fine materials, with my painting skills to create a painting that will become an heirloom for you and your family. I love that longevity piece. Creating things that will last over time.
Leave me any comments you have below. I hope you have enjoyed this foray into the materials that I use in the studio.
Bernard Callebaut. In a word, this is it, my guilty pleasure that I don't feel guilty about at all.
I was first introduced to them when I worked in Calgary, I used to take the bank deposit to the Scotia Bank down the street which took me right by the retail store for Bernard Callebaut. One of their practices was to have counter samples that would introduce you to new flavours. Oh my!!! Delicious.
Handcrafted chocolates with delightful creamy fillings. Not overly sweet, just flavour, flavour, creamy flavour. It has been a love of mine ever since. They feel so decadent and luxurious.
I think finding things that make our experiences better are important things to figure out. It can take some time to pay attention to what these things are. Our desires are important.
Despite our desires being important, it can be hard to allow ourselves to have our desires. We have been told 'no' thousands of times in our childhood and I think as adults we are accustomed to saying 'no' to ourselves.
Often we say no for the sake of family or other priorities. Sometimes it's necessary, but when and where we can, allowing our desires is important.
These chocolates are one of the those desires that I allow myself.
If you'd like try them for yourself I'll include the web address here.
If you live in the White Rock/South Surrey area you can visit the retail store in Peninsula Village located on 24th Avenue just east of 152nd Street.
If you do try them, them me a comment below. Perhaps you have already tried them or some other guilty pleasure. I'd love to hear about it.
Share your comments below.
Have you ever had an idea that has taken you a few years to complete on?
I have. This piece is a prime example. It was conceptualized in 2019 and I'm only now getting around to it. I love that feeling of completing on older projects. I was curious if I'd feel the same inspiration after all this time. I am. Very cool. I think I'm even more motivated now that I started to refine the shapes and colours.
There are a ton of details to paint in. While you see the line drawing on the canvas, the lines only depict major elements. There are subtle shifts throughout the entire piece. It's slow. It's rewarding. It's going to be stunning.
From deep fuschia to light pink and on to white. These six blooms are going to be amazing.
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Just the way I planned it.
We all know the summer flowers don't last forever, but someone there is still a sadness when they are gone. Part of my master plan is to bring those gorgeous flowers indoors so you can enjoy them all year long.
But really, what does it matter that you have a flower painting on your wall? In the big picture. Yes, it's pretty, but what is the lasting effect?
Just image you wake up and are greeted by one of these beauties. What's the first thing you do? You smile. You are in awe of the beauty, the colour, the lighting. Guess what? Even on the grayest of days, you immediately feel better.
What happens when we feel better? We smile more. We feel more confident. We greet our neighbours with a warm hello. We might even have a conversation with a random stranger. Who knows what could happen once you step outside feeling all happy.
We have an impact in the world, we may not always know what that impact is. We may not have any feedback about how we influencing others around us, but influencing we are.
My situation is unique because I often receive messages from clients once they have received their paintings. Like this one. This is the reaction from a client who was seeing her painting for the first time.
It still brings tears to my eyes to take in this impact. Can you feel it to? The amazing connection she had to the painting that I painted for her. Does she feel different? You bet.
Now just imagine what that feeling can do for a week, for a month, for a year.
We might want to change the world around us but really not know how to do anything to create that change. I know for certain feeling good is one thing that we can all do, and it has a big impact on what's going on around us.
Or this note from another collector of mine,,,,,
Why am I sharing all this, partly for me to be reminded of the impact that I'm having and partly to share with you, what it's like to own one of my paintings.
I really want to share beauty with others and by creating gorgeous paintings I have a way to do that.
Right now, I have a special promotion going on. For my VIP email recipients, I'm sharing a $100 voucher to use towards their purchase. (Good until 11 July 2022) Would you too like to be a part of it. It's easy. Simply join my email list. Here is the link to do that.
Maybe you'd like to see the pieces that are included in the Mid-Summer Clearance first. Before you sign up, because what if the paintings aren't any good. You don't want to sign up to a list if the paintings are bad. (They are not bad)
Just take a look. Don't take my word for it.
Yes, I can be a bit cheeky. Have a great day and let me know if you have any questions. You can message me here.
You know when you have a question that you just can't seem to answer without giving it a try? Well that has been my journey recently. Back in January I decided to move my studio space to a vibrant art community on Granville Island. Think Pike Place, but in Vancouver, BC. Food vendor's, fresh vegetable market, fish market, butchers, bakers, artisans of all sorts. It's a wonderful community.
It is actually a wonderful location. The drawbacks for me were the three hour commute each day on transit, no new interest in purchasing my work, and challenges with other studio artists practices.
I'm glad I tried it out. I have now answered that question that I couldn't seem to answer before hand.
I've been thinking about the challenges with the other artists in the space, and there were only a couple of problems, but I must be a part of creating that problem. I probably rub people the wrong way, at times. I'm pretty focused, I'm organized, I'm tidy with my work space, I want to get things done, and I want a professional career. This is my life after all and I have some pretty great goals I'd like to accomplish. I also have pretty strong values that I'm not shy to speak up about. So yes, I contributed to the challenges for sure. I'm totally okay with that because one thing I've learned in relationship is that you need to be authentic and speak up or resentments build up and things deteriorate from there. When/if people are no longer to relate to you, to be in relationship then it's time to make a new decision.
I'm so grateful to have the option to come back home. To have the space to work and be productive. I'm also grateful for my community where I can walk around and see gorgeous gardens, chat to my neighbours, meet new people, and enjoy myself.
Creating a life you love comes with some risks and some bumps along the way. Sometimes you have to touch up again the rails in order to course correct and travel straight again.
What an incredible journey. Thanks for coming along with me.
When have you had to course correct? Was it a difficult decision, or something you just knew you had to do? I'd love to hear about it. Drop me a comment below.
It's safe to say that I have a very unique relationship to flowers. I'm a bit obsessed. They draw me in and have me inspired to capture their beauty. I'm not entirely sure where this came from because we certainly didn't have lavish gardens growing up. I don't even recall a relative growing flowers.
What I do remember is the petunia's that my Mom and step dad grew at the front of Mom's house. They were hung in baskets from the eaves at the front of the house. Joe loved tending them and would fertilize regularly. The blooms were so prolific, you couldn't drive into the garage without scraping the dangling limbs of flowers. It was spectacular!!
My husband made a comment in passing the other day, that many people like flowers in the "oh that's a nice flower" move on sort of way. Where I'm a "stop the car, I have to get a picture of that flower" kind of person.
Certainly it's the colour that draws me in and I have done some study around colour and how it affects our moods. The shapes are also fascinating for me. Unbelievable shapes and details in the various petal styles of flowers. They are amazing.
Let me show you how flowers helped me recently.
The other day we had some controversy in the studio. I work with 9 other artists and 1 artist uses spray varnish, a highly toxic airborne pollutant. The first time he used it in the studio the director set up a new protocol so that he could continue with his process and not expose the rest of us to the toxins. He has continued to disregard those protocols. We need to sort this out, but that's not my point.
I left the studio angry. I was hurt that he will not see the impact on the rest of us. I was also questioning my continued leasing of studio space in this location. You see I have a 3 hour commute to get there each day. If I'm not able to work because of his varnish, and have to leave the studio, then it is not the place for me.
Again, these are just the decisions that I need to make for my health and my career.
The point of this is to give you some context for why I was angry. I came home so frustrated and defeated. I decided to walk home from uptown, where the bus drops me off. It's not far, and I needed the walk to blow off some steam. As I was meandering through the residential streets, of course, some flowers were shining away at me. I crossed the street and had a moment photographing them and taking in their beauty. They were Peony Tulips like the ones pictured at the top of this blog post. Immediately I felt calmer. I felt happier. I knew that this too shall pass. Flowers are a bit of a spiritual encounter for me. And my tears spring up as I'm writing this. Not surprising. This often happens in my work.
It's my hope and intention to use this spiritual experience, these emotions, to help me capture the beauty of these flowers. They teach me so much about patience, about trusting myself, about staying connected to my emotional self. They are more than a pretty flower, so much more.
Take a look at this current piece.
Again, I cried. This piece is called "The Duo." 22 x 36" Oil on Canvas. Absolutely stunning. The detail and nuances of colour bring these blooms to life in a way that rocks my world. I'm humbled to be able to paint like this.
So you see my work is about more than pretty flowers. It's about the spiritual connection, the emotional connection, the transformation in us that can happen when we are in the presence of beauty.
I do hope you enjoy this little glimpse into my world and my process. Leave a comment below if there is something you'd like to share about your connection to flowers.
Are you curious about the paintings I have available for purchase? Or the pieces I have coming up? The drop down tab will take you to upcoming piece. Then click the link below and take a look. Let me know if you have any questions.
Click here to go the my available pieces.