07/15/2026
There is a distinct difference between creating art as a self-journey and creating art with a definitive purpose. For the past eight years, I have been pushing toward the boundary where photography and fine art painting meet. This year, everything came together.
In the gallery below, I’ve paired my initial monochrome master images directly with the final, hand-pigmented study versions of Silent Alliance, Aunties Love, and Going to the Ballpark. I wanted to give you a true glimpse into this evolution.
My studio process relies on this exact transition. By taking a monochrome foundation and meticulously hand-layering archival pigments onto the canvas, I am able to reveal hidden emotional depths that standard photography simply cannot reach.
To truly prove this new method, I chose subjects that forced me to build my fundamental painting skills from the ground up. I had never painted skin tones before. Comparing the raw black-and-white images to the finished studies shows the complex light on the children's faces, the vibrant sunset sky in Auntie's Love, and the structural rust and golden trees of Silent Alliance. This medium opens up limitless possibilities.
Are they perfect? No. There are visible mistakes throughout these studies. But to me, they are happy mistakes—the honest, physical evidence of an artist mastering a craft. It is this exact evolution that has taken my work to new heights and introduced my practice to a wonderful new circle of fine art collectors.
(Note: The coastal piece from this sequence, Stranded, has already been officially acquired as the first release of its Edition Variable, numbered 2 of 5. The collector chose to move forward with the edition based entirely on the success of the initial studio study. I look forward to showcasing the final framed work later this year once it settles into its new home.)
