All of my commissions evolve through a collaborative process, refined during my days as an art director in Hollywood where I regularly solved creative problems.  For current commissions, I always start with in-depth research and then progress to drafts, which are collaborative iterations with designers and other clients.  Scale is integral to my paintings, so determining it becomes a meticulous part of the process.  I often photoshop a comparable piece into a picture of the prospective space, until the dimensions are known.  Then, studying color samples, swatches, finishes -- whatever I can mine from the actual space -- I create a color board in the textures and forms of the final artwork.  I am naturally a collaborator and this shared process regularly inspires me.  Like the strongest solos in famed musicals, my commissioned works become more than background sounds.  They become robust focal points of meaning and beauty for my clients. 

All of my commissions evolve through a collaborative process, refined during my days as an art director in Hollywood where I regularly solved creative problems.  For current commissions, I always start with in-depth research and then progress to drafts, which are collaborative iterations with designers and other clients.  Scale is integral to my paintings, so determining it becomes a meticulous part of the process.  I often photoshop a comparable piece into a picture of the prospective space, until the dimensions are known.  Then, studying color samples, swatches, finishes -- whatever I can mine from the actual space -- I create a color board in the textures and forms of the final artwork.  I am naturally a collaborator and this shared process regularly inspires me.  Like the strongest solos in famed musicals, my commissioned works become more than background sounds.  They become robust focal points of meaning and beauty for my clients. 

The final paintings, a diptych, Blessings of a Golden Rose 1 & 2 @ 17" W x 50" H x 2" D for a 'his & her' master bathroom in a Four Seasons Hualalai residence on the Big Island of Hawai'i. Each painting was installed on opposite sides of the bathroom but from the entry and in the huge mirrors over the sinks it was possible to see both paintings at the same time and so the textures had to work together to move in a complimentary pattern. 

The final paintings, a diptych, Blessings of a Golden Rose 1 & 2 @ 17" W x 50" H x 2" D for a 'his & her' master bathroom in a Four Seasons Hualalai residence on the Big Island of Hawai'i. Each painting was installed on opposite sides of the bathroom but from the entry and in the huge mirrors over the sinks it was possible to see both paintings at the same time and so the textures had to work together to move in a complimentary pattern. 

An impeccable installation stages a place of honor, an altar for the work —the 24K gold leaf adding a touch of luxe. 

An impeccable installation stages a place of honor, an altar for the work —the 24K gold leaf adding a touch of luxe. 

Blessing of a Golden Rose # 1 hangs to the left of the master bathtub. The bathroom floods with natural light from the wall of sliding glass on the right but the paintings are tucked away from that light source. The colors of the painting have just enough pop to offset that and pick up the palette from the adjacent master bedroom as well. 

Blessing of a Golden Rose # 1 hangs to the left of the master bathtub. The bathroom floods with natural light from the wall of sliding glass on the right but the paintings are tucked away from that light source. The colors of the painting have just enough pop to offset that and pick up the palette from the adjacent master bedroom as well. 

Blessings of a Golden Rose # 2 hangs to the right of the master bathtub and to the left of the garden shower beyond. I am honored to say that this is my second commission for these clients, the first being a large diptych in the living room of their prior home. Most of the commissions listed on my commission page have repeat performances and I am proud of that as my clients are connoisseurs. 

Blessings of a Golden Rose # 2 hangs to the right of the master bathtub and to the left of the garden shower beyond. I am honored to say that this is my second commission for these clients, the first being a large diptych in the living room of their prior home. Most of the commissions listed on my commission page have repeat performances and I am proud of that as my clients are connoisseurs. 

Ready for our close up.

Ready for our close up.

This is what this particular design expresses to me:  This modern design was originally inspired by the ancient art of Polynesian tattoo which began over 2000 years ago. Every Polynesian culture had similar traditions and these primitive designs allowed people to identify a persons origins, rank and status. The tattoo artists were considered masters with spiritual responsibilities that put great restrictions on their lifestyle as not to offend the God’s that bestowed such talent. Linear geometric motifs such as triangles had multiple meanings depending where on the body it was placed and how it was incorporated with other lines. It was up to the master to determine what was appropriate for each person and to explain the story behind each individual’s design. Unfortunately the missionary presence of the 19th century completely extinguished this form of art. A few years ago I visited the Neue Museum in NYC to see the work of Austrian symbolist painter Gustav Klimt.. I had never seen Klimt’s original paintings before and to my surprise and elation they included not only gold but texture, and his backgrounds incorporated the same kind of sequential geo-patterns. That was when my tattoo designs took off like a jet plane in a new kind of flight pattern.  In this work I honor the rich legacy of Polynesian culture and all the master artists who came before.  It is this magical circle of then and now that I paint about...the crumbs on the path that lead us to our own inner truth.

This is what this particular design expresses to me: 

This modern design was originally inspired by the ancient art of Polynesian tattoo which began over 2000 years ago. Every Polynesian culture had similar traditions and these primitive designs allowed people to identify a persons origins, rank and status.

The tattoo artists were considered masters with spiritual responsibilities that put great restrictions on their lifestyle as not to offend the God’s that bestowed such talent. Linear geometric motifs such as triangles had multiple meanings depending where on the body it was placed and how it was incorporated with other lines. It was up to the master to determine what was appropriate for each person and to explain the story behind each individual’s design. Unfortunately the missionary presence of the 19th century completely extinguished this form of art.

A few years ago I visited the Neue Museum in NYC to see the work of Austrian symbolist painter Gustav Klimt.. I had never seen Klimt’s original paintings before and to my surprise and elation they included not only gold but texture, and his backgrounds incorporated the same kind of sequential geo-patterns. That was when my tattoo designs took off like a jet plane in a new kind of flight pattern. 

In this work I honor the rich legacy of Polynesian culture and all the master artists who came before.  It is this magical circle of then and now that I paint about...the crumbs on the path that lead us to our own inner truth.