Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
The sparkling crown jewel of this theater room in a private residence is this ceiling scarab, echoing the drama of the grand movie palaces of days past. Suspended in the center of a cobalt suede background, a Swarovski crystal encrusted scarab shimmers in the reflected light of the movie screen. Layers of transparent beetle wings are painted in iridescent pigments, superimposed on a traditional Persian design. Whether the lights are dimmed for the movie or fully on, the ineffable scarab interacts with the viewer. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
The ceiling was designed with a cobalt suede background to absorb light. The iridescent wings interact with light levels in the room and with thousands of Swarovski crystals, creating a shimmering effect which lends to the perception of movement. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
Wherever one walks, stands or sits there is a change in the scarab — the iridescent wings become opaque or completely disappear as light refracts through the tiny prisms of Austrian crystal. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
In mid ’04, I was commissioned to create a twelve by twelve foot pitched ceiling for a home theater room to be decorated with an Egyptian style. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
I gave myself two guiding parameters upon accepting the theater room commission. First, I wanted the ceiling to interact with the light from the movie screen and to have the grand essence of an old movie palace. Second, I did not want the ceiling to look like “Egypt Land” at an amusement park. The Egyptian elements needed to be subtle, contemporary and to echo the blending of multiple cultures. This blending allows the room to be redressed in styles ranging from Moroccan to Indian should the Egyptian theme ever become tiresome. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
With so much attention being focused on theater rooms in contemporary luxury homes, I believe taking that luxury a step further, creating a truly individual signature in these small, but pricey spaces. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
When creating theater rooms, the expansion of the imagination should be in the forefront of the design. This is a space in a home where one can push the envelope in home decor and have a bit of fun with materials, allowing themes to become secondary to clever originality. In other words... You’re spending a grip on equipment and on creating an experience, don’t put it in a beige box. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
A detail of the Scarab Ceiling. Visit the Videos page for a sparkle-tacular exploration of this ceiling. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
A detail of the Scarab Ceiling. Scarab Ceiling, 2004, Oil on Canvas, 12 feet by 12 feet.
A detail of the Scarab Ceiling, showing some of the thousands of Swarovski crystals adorning the canvas. |
The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
Javanese Wayang Golek puppets were the muse for this piece — a ceremonial gathering of the unknown, an ineffable scene not of this world. The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
In mid-2004, I was commissioned to paint a canvas that would be applied to a 10-foot curved wall in a small room with an entrance off the main hall of a residence. My goal was to create a painting that would draw the attention of someone passing and engage them to interact with the painting, the curve and the limited spatial view. The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
The estate, located in Fort Lauderdale, Florida, has a strong infusion of coastal living in its design. It is a contemporary home with classical proportions. When I suggested a nod to Java, the owners were not intimidated by the thought of looking beyond their own sandy shores. These characters which embody a culture speak to me in a language translated through my pallet and brush. The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
With Gorecki’s Symphony No. 3 playing in the background and after painting the wall of my studio white, I played a spotlight on the puppets, exploring their range of motion and the movement of their shadows. The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
Ultimately, I found myself moving them in an ominous a processional march. This gathering or ceremony represented the mystery of the characters. When the scene was condensed to an almost tribal circle, I knew it would interact with the curve of the wall. The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
Knowing that light would travel along the curve, glazes of iridescent pigments were layered into the painting, giving the appearance of movement. The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
This is a detail of The Gathering. Please peruse the Videos page for a phenomenal periodic photographic procession progression. Brought to you by the letter “P”. The Gathering, 2004, Oil on Canvas, 10 by 10 feet.
This installation view shows the dark hardwood frame that was custom-designed for the piece and the curved wall on which the work is mounted. The other walls in the room are a highly-polished Venitian plaster which reflects the warm rich colors of the painting. |
Muse of the Renaissance, 1999, Oil on Dome, .
Muse of the Renaissance, a dome that rest as a crown, high above the rotunda of a Mizner-inspired Florida home, is based on the Nine Muses in Grecian mythology and by the true definition of renaissance, celebrating of the rebirth of artistic creativity. Upon entering the home, guests are greeted with a spectacular vision of muses enchanting inspiration to all those who walk beneath them. Muse of the Renaissance, 1999, Oil on Dome, .
The historical light fixture was salvaged from St. Petersburg, Florida's famed Venoy Hotel and serves to draw the viewer's eye to the dome. Muse of the Renaissance, 1999, Oil on Dome, .
The dome is separated into five niches each containing muses and maidens. Between each niche are architectural supports in the form of columns and male figures that seem to sustain the second tier of the dome. The second tier is a series of moldings, an elaborately-coffered dome and a gilded trellis that opens to the heavens above. Muse of the Renaissance, 1999, Oil on Dome, .
Erato, the muse of love poetry, plays her harp as she is being embraced by Polyhymnia, the muse of sacred poetry. On the opposite side, Calliope, the muse of epic poetry, takes a moment away from her tablet. Muse of the Renaissance, 1999, Oil on Dome, .
The niches, with their gilded moldings and apparently-theatrical lighting, are actually lit by a halogen light system that runs behind the physical molding that encircles the dome. Muse of the Renaissance, 1999, Oil on Dome, .
Terpsichore, the muse of dance, plays her instrument as her maidens dance. Muse of the Renaissance, 1999, Oil on Dome, .
The heavenly Urnia strokes the neck of a crane, celebrating its ability to fly among the starry skies. Muse of the Renaissance, 1999, Oil on Dome, .
With her theatrical pose and subtle smile, Thelia, the muse of comedy, sits and greets guests with a grin. Muse of the Renaissance, 1999, Oil on Dome, .
On either side of each niche, painted from the perspective of being seen from the ground floor, male statues appear to be supporting the second tier of the dome. Muse of the Renaissance, 1999, Oil on Dome, .
Detail. Muse of the Renaissance, 1999, Oil on Dome, .
Melpomene, the songstress of tragedy, plays her lute. Muse of the Renaissance, 1999, Oil on Dome, .
Detail of Melpomene. Muse of the Renaissance, 1999, Oil on Dome, .
Euterpe, the muse of music, plays her flute as two maidens admire her. |
Fioritura del Pavone, 1999, Oil on Canvas, .
Fioritura del Pavone is an interpretation of the grandeur of the gilded age, within the splendor of a contemporary villa. The layers of painted framework, a bouquet of flowers and the resting peacock, all combine to exemplify extravagance. Fioritura del Pavone, 1999, Oil on Canvas, .
This work was commissioned for a quiet alcove within a master suite. I was first contacted on this project while it was still in blueprint stage. Upon studying the plans for the space, I realized that within the alcove one would never be able to stand very far back from the painting. For this reason I wanted to create a grand effect utilizing scale, yet have intricate details to study. Fioritura del Pavone, 1999, Oil on Canvas, .
The purposefully-excessive layers of framework, roping, quilting and draping all combine to present a regal air. Fioritura del Pavone, 1999, Oil on Canvas, .
The hours painting the inter-relationships of various moldings and materials culminated to create a subtle impression of depth, visually recessing the painting so that it did not impose unduly on the space. Fioritura del Pavone, 1999, Oil on Canvas, .
The majestic columns, with their sculpturally-defined somber faces, act as weights that flank this intricate painting. Fioritura del Pavone, 1999, Oil on Canvas, .
Depicted in a tapestry-like background, lovers drink in the pleasures of life. This garden-scene tapestry incorporates the deepest of the multitude of layers in this painting. Fioritura del Pavone, 1999, Oil on Canvas, .
An enchanted garden, where putties adorn goats with garlands, serves as one tableau in the tapestry-like background. Fioritura del Pavone, 1999, Oil on Canvas, .
The overall commanding nature of the work is juxtaposed with a calming palette, creating a wall which can be a source of constant discovery. Fioritura del Pavone, 1999, Oil on Canvas, .
The peacock sits in the foreground, quietly directing attention inward with a gentle curve of the neck. Fioritura del Pavone, 1999, Oil on Canvas, .
Final installation and the artist. |
The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
When my clients approached me to paint their turret stairwell, leading from the second floor Japanese-themed sitting area to the third floor cupola, I decided to take advantage of the climbing stairs to reveal a simple metaphor of life. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
The literal subject matter is a blossoming tree painted upon a background of silk. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
At the bottom we see the tree’s roots as they receive their nourishment — earth and water from the pond where the koi swim in their rippling pool. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
As we follow the tree upward, we pass bamboo rising skyward and we are greeted by a small bird that grasps a twig and two closely perched doves. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
Detail of doves sitting by handrail (watch your step). The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
Detail. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
Detail. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
Following the twisting trunk upward through the spiral staircase we see life in all its simplicity. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
Various birds, grasshoppers, even a monkey all interwoven within an explosion of gilded edged blossoms. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
The tree then sinks beneath the railing to allow the view of the mountains beginning to rise in the distance — A symbol of our own mountain tops that we visit from time to time. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
As we climb higher the tree begins to taper off, withering and coming to its end. Here it is barren of blossoms, aged and decrepit, yet now serving a different purpose — a place from which to lift off, as we see a crane taking flight. The Cherry Tree Turret, 2001, Oil on Plaster, Variable dimensions (spiraling around turret).
In the tranquil space atop the staircase, we see cranes in flight in the quietness of the clouds blowing past. And finally a poem that translates: Mountains hold the autumn colors near, Swallows cross the evening sun slowly. A quiet thought for a quiet space. |
Garden Bath, 1999, Oil on Canvas, .
This Garden Bath is a trompe l'oeil of an Italianate formal garden. The installation of the canvas on the back wall of this powder room brings depth and perspective to a relatively small space. The painted columns and stairs were created to form a transition between the view depicted and the physical room. To continue the effect, the rest of the room was finished off with a faux limestone block and decorative Corinthian leaf banding. After the completion of the painting, the project's design firm installed a decorative iron gate. Garden Bath, 1999, Oil on Canvas, .
During a visit to the Elms estate in Newport, Rhode Island, I was impressed by the beauty and tranquility of an architectural folly nestled within the expansive grounds. The structure, seen here in the background, seemed to be a quiet retreat from the world. This sense of peaceful isolation served as the inspiration for this painting. |
Hydrangea Dining Room, 2003, , .
The Hydrangea Dining Room was studied and painted deliberately to marry multiple spaces, styles and periods in a home with an open floor plan. The home, built as an Italian Mediterranean villa, was designed in a mixture of Art Nouveau and Art Deco. The challenge of combining the predetermined styles of the house was the reason I chose to accept the commission. Hydrangea Dining Room, 2003, , .
The dining room walls were painted in a terra cotta to ochre gradation in multiple layers to softly blend the hues. The adjoining family room has a strong William Morris influence. Creating a coloration for the dining room that was appropriate to the period and also felt at home in a Mediterranean structure was a prime concern. Hydrangea Dining Room, 2003, , .
Over the color gradation on the walls were hundreds of hydrangea blossoms interlinked in an Art Nouveau motif, subtly echoing a William Morris design. The lightly umbered floral motif surrounds the crown of this dinning room without overwhelming the space. Adding gold dust to a number of the glazes traces out a shimmer that appears and disappears, depending on the position of the viewer. Hydrangea Dining Room, 2003, , .
Guests at a dinner party could follow the design around the room, but it wouldn't demand their attention. A backdrop to a beautifully furnished space and attention to detail were my parameters. Hydrangea Dining Room, 2003, , .
A large, tiered Art Deco chandelier hangs in the center of the plaster ceiling with matching sconces positioned on one of the walls. To introduce the Art Deco into the room design, sinewy lines hang as garlands from the hydrangeas. This implies the Art Deco line found in the light fixtures. Hydrangea Dining Room, 2003, , .
Also, a sparse rhythm of lines, or stems if you will, that lead to the floor hang from the hydrangeas. Hydrangea Dining Room, 2003, , .
These I created to ground the room. They follow down the wall to a strong nouveau lotus leaf design that trails around the bottom of the room. The darker lotus leaves are painted with a heavier brush stroke, adding weight to the space and also giving appropriate proportions. Hydrangea Dining Room, 2003, , .
Detail of lotus leaf design. |
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Le Bain de La Vie en Rose, 2003, , .
Inspired by the sweet melody and the enchanting lyrics to the song La Vie en Rose, the My life in pink bath was created. From its Swaroski crystal ceiling to its pink marble floor, this room sings of innocence, love and beauty—all for a little princess. Le Bain de La Vie en Rose, 2003, , .
When an established client commissioned me to paint her two-year-old daughter’s suite, she desired only two things— It must be darling and it must have a French theme. With that, I began... Le Bain de La Vie en Rose, 2003, , .
First the room was painted a satin pink and then ten layers of pink and salmon glazes were applied. In each layer, pearlescent pigments were added to create a slight shimmer and color saturation that echoed the inside of a conch shell. Le Bain de La Vie en Rose, 2003, , .
When light shimmered around the warm pink room, I knew I had achieved my desired effect. Le Bain de La Vie en Rose, 2003, , .
With a subtle nod to Coco Chanel, the room was then striped in a matte bone that started drawing in the essence of a French boutique. Le Bain de La Vie en Rose, 2003, , .
With La vie en rose playing in the background and my pallet in hand, the words began to appear. Light and sinewy brushstrokes started filling the room with lyrics that read, When we kiss angels sing from above, every day words seem to turn into love songs. Le Bain de La Vie en Rose, 2003, , .
Superimposing the script one on top the other and playing with scale and translucency, the room started to sing of an innocent romantic dream. Le Bain de La Vie en Rose, 2003, , .
Once the words of the song were in place, small pink rose petals were painted blowing around the room—swirling around the lyrics, dancing along moldings. This room had begun the transition from a little girl’s bath to a room for a little princess. Le Bain de La Vie en Rose, 2003, , .
The walls of the bedroom suite are upholstered in a bing cherry fabric. To tie in the two rooms, the ceiling of the bath was painted bing cherry. It was then painted in a trompe l’oeil of a quilted upholstered ceiling. Le Bain de La Vie en Rose, 2003, , .
When the painted ceiling of quilted silk was finished, Swaraski crystals were affixed at every intersection of the quilting, creating a very subtle shimmer to the ceiling. A small twinkle on the lid of this jewel box. Le Bain de La Vie en Rose, 2003, , .
The vanity, with its heavily quartz pink marble top, was painted in a vintage Parisian boutique fashion. Le Bain de La Vie en Rose, 2003, , .
Doors were painted as hat boxes and drawers labeled for gloves and jewels. Antique glass knobs were tied in pink silk ribbons. Even the interior was papered in vintage Parisian wrapping paper. |
Putti Dome, 1996, Oil on Dome, 18 feet in diameter.
Early in my career, I took a commission for a home that was being built off the coast of Honduras on the island of Roatan. For one year, I lived on the island at my patrons resort. Each morning I would walk up the hill upon which the house was situated, climb up the scaffolding and paint in the domes. This, obviously, was a lovely commission. Putti Dome, 1996, Oil on Dome, 18 feet in diameter.
In all actuality my client chopped the top off a piccolo mountain and built his home. A twenty-seven thousand square foot, sprawling palazzo, overlooking his little slice of the Caribbean, complete with a waterfall cascading off the hillside. Putti Dome, 1996, Oil on Dome, 18 feet in diameter.
In this dome high above the grand entrance hall, I painted puttis adorning the space with garlands made of hibiscus (indigenous plants surrounding the house), palm fronds and crimson fabric (which echoed the color of the accent marble in the floor below). Putti Dome, 1996, Oil on Dome, 18 feet in diameter.
The dome had three tiers each lit from surrounding cove lighting. The first tier painted with puttis, the second with busts of the seasons and the third an oculate opening to a sky scene. Putti Dome, 1996, Oil on Dome, 18 feet in diameter.
Here in progress, a putti lays effortlessly in the sky draped with garlands. Putti Dome, 1996, Oil on Dome, 18 feet in diameter.
A look that communicates a struggle with the garland, which raises a question of draping or wrestling. Putti Dome, 1996, Oil on Dome, 18 feet in diameter.
Though I probably would not use the subject matter today, I can’t help but smile when thinking of these five little fellows and the task in which they are captured. My time on the island started me on a journey that changed my state of mind. |
River Dog, 2003, Oil on Canvas, 108 inches wide by 84 inches tall.
A client expressed interest in a painting of an undisturbed Florida scene. With that condition and after viewing the space, I was off to the banks of the Hillsborough River for a lazy Sunday afternoon. With its live oaks and palms arching over the river and its thick palmetto underbrush, this became my muse for a Florida scene. The cooled air along the river and the warm sun dappled through the trees suggested a quieter time. River Dog, 2003, Oil on Canvas, 108 inches wide by 84 inches tall.
I envisioned the piece as an aged sepia postcard from a Florida of days past. With this as my inspiration, my color palette was chosen. An under painting done entirely in raw umber was then expanded upon with sienna, ochre, and olive green. River Dog, 2003, Oil on Canvas, 108 inches wide by 84 inches tall.
Brush strokes were kept light and short, in an almost Impressionistic manner to imply the light that shimmers along the river's banks. River Dog, 2003, Oil on Canvas, 108 inches wide by 84 inches tall.
Detail of the brushstroke in the live oak. River Dog, 2003, Oil on Canvas, 108 inches wide by 84 inches tall.
And along the river's edge, a dog wading up to his chest, as old dogs do. Looking out across the river that he swam in as a youth. He creates ripples of light twinkling in an otherwise sleepy river. River Dog, 2003, Oil on Canvas, 108 inches wide by 84 inches tall.
Dinker Donker. |
Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
The six cartouches that were created for this home were carved from plaster, painted, and then waxed. Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
In the foyer, on either side of the main staircase, two of the cartouches tower over the archways leading into the adjoining rooms. Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
Although six were created, each room had its own theme. The foyer, with a view of the water, is designed with Italian dolphins and peacocks. Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
Layers of plaster were applied to the surface of the stone. Once the proper depth was achieved, the design was then carved and then painted to expand the depth. Finally, the surface was waxed to a refined sheen. Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
The result: a subtle carved effect that catches light and shadow. Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
Leading through the archway another design appears, this one above a serving credenza in the dinning room. Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
Close-up of dining room installation. Tableaux, 2002, Oil on Plaster, 3 feet high by 8 feet wide, each.
Depicting cornucopias and doves, this monogrammed tableau watches over the dining table with its wishes of peace and plentitude. |
The Nursery, 2004, Oil on Ceiling, variable.
This nursery, its windows and bed cascading with floral fabric, has walls upholstered in a Bing cherry fabric, wrapping the room like the inside of a jewelry box. The lid of this precious space is a view of the heavens. The Nursery, 2004, Oil on Ceiling, variable.
The coving of this ceiling is painted in a blush trellis pattern. Only when you look closely, do you realize the trellising is actually ribbons woven together. With sweet floral bouquets anchoring each corner, the eye follows along to the plaster relief work on the ceiling. The Nursery, 2004, Oil on Ceiling, variable.
A lovely antique French chandelier looks perfectly at home hanging from the center of this ceiling. The plaster medallion, relief work and mouldings were antiqued to echo the painted furniture in the nursery. The Nursery, 2004, Oil on Ceiling, variable.
Detail of nursery corner bouquets. |
The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
These characters idealize fundamental human beliefs and desires, becoming iconic, visual metaphors. They reflect ourselves and are something for us to reflect upon. Coming from a wide range of times and cultures, they represent timeless truths of the human condition. Inspired by Tibetan thangkas and the loving story of Chenrezig, I created this painting as a meditation for myself and to represent the beauty in our lives. The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
Inside the quiet walls of Tibetan monasteries, monks take their meditations in search of spiritual enlightenment in front of paintings of ancient Buddhist iconography. These paintings, called “thangkas”, hold greatly significant elements within their compositions for the monks’ quiet contemplation. The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
Chenrezig, the embodiment of Compassion is known as the father of the Tibetan people. The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
When Amitabha, the Buddha of Infinite Light, saw the suffering of all creatures on earth he created Chenrezig as a manifestation of his compassion for them. Upon seeing the immense suffering all that surrounding him, Cherenzig vowed he would never leave until every being attained peace. The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
Daunted by this task, he fell upon despair and broke into countless pieces. The Buddha took pity upon Chenrezig and gave him a new life with a thousand arms and eleven heads. Knowing that he could now fulfill his vow, Chenrezig began to cry and from one of his tears was born Tara, The Great Compassionate Mother. The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
I painted a faceted Chenrizig to reflect the facets of our own consciousness and realities. These levels which we unveil to enter a mindset of serenity. For me, they are like diffused glass panels that can be slid back to attain clarity. The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
I don’t suggest that I am trying to recreate the significance of a religious or spiritual belief, rather my personal translation of a figure that represents compassion, a consciousness that we all have individually but of which we are in desperate need of as a global society. The Lotus Tears of Chenrezig, 2005, Oil on Canvas, 90 by 66 inches.
The piece is shown installed tapestry-style in a Modern home in Florida. |
Il Terrazzo del Leone, 2005, Oil on Canvas, 9 by 5 feet.
Il Terrazzo del Leone “The Lion Terrace” Inspired by a terrace at a friend’s home in the countryside outside of Florence, this 9 by 5 foot oil painting was created to evoke the tranquility and contemplation of that leisurely afternoon stroll. Il Terrazzo del Leone, 2005, Oil on Canvas, 9 by 5 feet.
As I rested in the cool shade, filtered sunlight from the warm Tuscan sun broke through the canopy of trees and dappled light began dancing across the terrace. It soon became a ritual to visit this space in the afternoons, allowing me to relax and quietly sketch. Il Terrazzo del Leone, 2005, Oil on Canvas, 9 by 5 feet.
For me, the painting represents memory, tranquility and a place to rest. For you it may act as a tranquil backdrop within a room that does not demand the figurative work of an epic tale. |
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Fleurs de Lis Medallion, 2002, Oil on Canvas, 72 inches wide by 72 inches high.
Either to adorn the base of any ceiling-mounted light fixture or floating in the center of a ceiling, the canvas engages the viewer. Playfully juxtaposed are classically-regal and delightfully-country elements. Purposefully created for the client that enjoys my work but is hesitant to have an epic mural in their home, I designed a decorative work which incorporates line and figure. With the reintroduction of the quatrefoil in the revival of Mediterranean architecture, Fleurs de Lis Medallion contains strong geometric elements that can be referenced throughout a home. Incorporating visually-appealing basic geometry with well-known symbols, such as the fleur de lis, creates an overall design which is familiar and which can easily be integrated into diverse environments. Fleurs de Lis Medallion, 2002, Oil on Canvas, 72 inches wide by 72 inches high.
Within each of the four lobes of the quatrefoil is a pair of winged figures, together holding a fleur de lis medallion. With one hand on the crest and the other extending outward, the arms of the figures echo the circular form of the central garland. Fleurs de Lis Medallion, 2002, Oil on Canvas, 72 inches wide by 72 inches high.
Based on a quatrefoil, the sometimes-subtle combinations of circles and squares in multiple intersecting layers of patterning create subliminally-appealing interconnections and points of interest. Fleurs de Lis Medallion, 2002, Oil on Canvas, 72 inches wide by 72 inches high.
A subtle sky scene is the backdrop for a wreath of fruits and flowers wrapped with a ribbon that reads of life and love. The color palette is strong, yet restrained, and the image intricate without being overly complex. Fleurs de Lis Medallion, 2002, Oil on Canvas, 72 inches wide by 72 inches high.
I deliberately kept the brushstroke strong, but light, maintaining the focus on the line and overall composition. Fleurs de Lis Medallion, 2002, Oil on Canvas, 72 inches wide by 72 inches high.
The floral scrollwork, charming in its unsophistication, weaves throughout the painting and creates simple movement through line. The entire piece is enclosed within a fine Italian stripe and trompe l'oeil of sculpted framing. |
Flora, 2004, Oil on Canvas, 72 by 72 inches.
These characters idealize fundamental human beliefs and desires, becoming iconic, visual metaphors. They reflect ourselves and are something for us to reflect upon. Coming from a wide range of times and cultures, they represent timeless truths of the human condition. Flora, 2004, Oil on Canvas, 72 by 72 inches.
The painting Flora, goddess of spring, was created as a metaphor for continuous new beginnings in life. As spring brings new life each year under Flora’s nurturing gaze, our own personal growth is reflected in her gentle eyes. Flora, 2004, Oil on Canvas, 72 by 72 inches.
Adding a classical flair to a contemporary space or an element of grand scale to a classically designed environment, Flora was painted to transcend and blur the line between classical and contemporary. Flora, 2004, Oil on Canvas, 72 by 72 inches.
Hung from a tapestry rod or framed, Flora is perfect for any space calling for a tone of serenity. Flora, 2004, Oil on Canvas, 72 by 72 inches.
The original oil-on-canvas painting measures 72 by 72 inches. In umber, ocher, and sienna, large and gentle brushstrokes capture not just the feminine, but the tranquility of a nurturing spirit. Flora, 2004, Oil on Canvas, 72 by 72 inches.
Flora may be purchased in a range of proportional sizes (square) by contacting Sean Rush. |
The Flight of Life, 2000, Oil on Canvas, 102 inches by 82 inches overall.
This ceiling canvas is available for purchase. It was created as an expression of the balance of life. At one end sits Mother Earth, wrapped in garlands containing the fruits of life. Beside her sit Harmony and Destruction. The Flight of Life, 2000, Oil on Canvas, 102 inches by 82 inches overall.
Harmony playing her harps, lending tranquility to the world, and destruction stands along side her with his mighty sword. The Flight of Life, 2000, Oil on Canvas, 102 inches by 82 inches overall.
Knowing the balance of each, she releases her first life into the world with one hand as she clutches her heart with the other. The Flight of Life, 2000, Oil on Canvas, 102 inches by 82 inches overall.
At the other end her son takes flight, young and unknowing, he begins his journey in life. The Flight of Life, 2000, Oil on Canvas, 102 inches by 82 inches overall.
Detail. The Flight of Life, 2000, Oil on Canvas, 102 inches by 82 inches overall.
The proportional dimensions of the original canvas are shown here. |
Bacchus, 2004, Oil on Canvas, 72 by 72 inches.
These characters idealize fundamental human beliefs and desires, becoming iconic, visual metaphors. They reflect ourselves and are something for us to reflect upon. Coming from a wide range of times and cultures, they represent timeless truths of the human condition. Bacchus, 2004, Oil on Canvas, 72 by 72 inches.
The original oil-on-canvas painting measures 72 by 72 inches. In umber, ocher, and sienna, large brushstrokes capture the knowing gaze beneath Bacchus’s heavily hooded eyes — a knowing gaze far beyond his youthful appearance. Bacchus, 2004, Oil on Canvas, 72 by 72 inches.
I painted this canvas of Bacchus, the god of wine, to create a mood of celebration within a space. A respite of wine, friends and good conversation within a warm and safe environment conducive to nurturing lasting memories. Bacchus, 2004, Oil on Canvas, 72 by 72 inches.
Adding a classical flair to a contemporary space or an element of grand scale to a classically designed environment, Bacchus was painted to transcend and blur the line between classical and contemporary. Bacchus, 2004, Oil on Canvas, 72 by 72 inches.
Hung from a tapestry rod or framed, Bacchus serves as a sumptuous backdrop in any wine room, in any room where wine is served, in any room painted in wine-like colors or any view though an empty wine bottle. Bacchus, 2004, Oil on Canvas, 72 by 72 inches.
Bacchus may be purchased in a range of proportional sizes (square) by contacting Sean Rush. Bacchus, 2004, Oil on Canvas, 72 by 72 inches.
Bacchus installed as a hanging canvas in an urban loft. |
Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
A little known story in ancient Greek mythology tells of Amymone, a maiden on her way to fetch water at the river bank and was then assaulted by satyrs. As she ran to the river's edge, Poseidon arose from the water and rescued her from the hoofed beasts. The rescue turned into an abduction when he then seized her, carried her deep into the underworld, raped her and claimed her as his own. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
My rendition of this ancient myth is set following Amymone's abduction. In this moody scene with a strong palette, Amymone sits in Poseidon's gilded shell throne, lit from below and flanked by two menacing satyrs. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
The strong brushstrokes that make up the dolphins in the arms of the throne are contained by a dark contour line. This silhouetting of form and figure appears throughout the painting, creating a dramatic feel. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Detail of brushstroke. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
The contour line is in red to give an iconic quality to the main character and to express the fear in Amymone's stare as she looks at the satyr. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Detail. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Evocative of lust in the painting's background, power in Poseidon's triton, and potential harm in the snarling eyes of the saytr, red is the predominate color in this painting. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Beginning from the center outward, each element in this painting is expanding beyond the area in which it is contained. This layering creates a framed and theatrical dimension, exemplified here in the second satyr, hidden in shadow, but clasping the back of the thrown. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Detail. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Expansion beyond ones confinements is a fundamental theme in this work. Here, Amymone grasps Poseidon's triton as she takes the first step to emerge from the protection of the throne. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Detail. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Leaving the security of Poseidon's throne, Amymone begins a new journey. Stepping beyond his control, symbolized by crossing over the banner bearing his name, she is fearful at the start but knows she is on a path on which she will find her own destiny. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
The small cherub with one hand on the banner that reads, “trono del Poseidon” (the throne of Poseidon) acts as the blind witness to the god's actions. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
Every act has a witness, someone to tell the tale, someone who knows the truth. The witness may be small, but even small ones have a memory. Amymone, 2001, Oil on Canvas, 96 inches high by 84 inches wide.
The lavish but aged garland that surrounds the painting adorning it with the fruits of life. |
Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
During my time in Florence, I was deeply influenced by art, culture and architecture. Upon my return, I wanted to pay homage to those influences while also documenting a particular time in my life. Bacchus del Firenze is the result. My Bacchus, played out under the hypnotic gaze of the god of wine, is staged between the support of Hypnos and Morpheus, the gods of sleep and dreams. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
Bacchus has been sensually depicted through time by artists, notably Caravaggio. Here, a scene of drunken folly is set forth on the alter of Bacchus and under his gaze—where the god of wine transforms one's reality into his own. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
One of two putti holding the Bacchus medallion. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
Within the theatrical architecture of this painting, two male figures support the proscenium arch—Morpheus and Hypnos, the gods of sleep and dreams. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
Hypnos, the god of sleep and the father of Morpheus, is shown cast in the shadow of night, when sleep comes easily and his influence becomes stronger. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
Morpheus, the god of dreams, his eyes squeezed in thought, contemplates how the dream is to be played out. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
In front of the city of Florence on the horizon, an age-old story of sin and salvation is depicted in a drunken spell. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
Men wrestle; senselessness, like gossip, spreads quickly; and wine is poured in such abundance that it is spilled into the river. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
Detail. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
A youth, naive of the perils of intoxication, is lifted out of his own destruction by Salvation herself. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
The angel representing Salvation was inspired by a dear friend with a genteel hand and wisdom beyond her years. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
The garland detail along the bottom of the painting was inspired by the amazing and varied plaster work in the chambers of the Pitti Palace in Florence. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
The painting was executed in very thin transparent glazes and in some areas the pigment was removed entirely. The tooth of the canvas is easily seen, not covered with thick layers of paint. Bacchus del Firenze, 2001, Oil on Canvas, 72 inches high by 108 inches wide.
The deliberate monochromatic and transparent nature of the painting represents the loss of color in a fading memory. |
Gallery Ceiling, 1999, Oil on Canvas, .
A gallery spans the second floor of this Italian Mediterranean inspired estate. Luxury lies on every surface in this home including the ceiling of its grand hall. Eighteen canvases were painted, all related but none duplicated. All with the same color palette, each incorporated small elements from the surrounding space and thoughout the estate. Gallery Ceiling, 1999, Oil on Canvas, .
The pecky cypress beams framing out the hand painted ceiling panels and antique light fixture, combined with its lavish furnishings result in a grand yet informal gallery. Gallery Ceiling, 1999, Oil on Canvas, .
Detail of light fixture and canvas. Gallery Ceiling, 1999, Oil on Canvas, .
From the first floor foyer one can see the overall “collected feel” of the series of canvases. Gallery Ceiling, 1999, Oil on Canvas, .
In this canvas painted pears were the element used to echo a northern Italian flair. Each canvas was uniquely painted, distressed and color washed in an umber tone to imply age. Gallery Ceiling, 1999, Oil on Canvas, .
Sean Rush oversees the installation of the canvases as he oversees all his installations to insure a well done job, and a job well done. Gallery Ceiling, 1999, Oil on Canvas, .
This is a fine example that the multiple use of even a simple element can have great visual impact on a space. |
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