The Cathedral of a Woman

22x18", pencil, pen, watercolor, tea stained Bristol

"For the knight is swift and the Sybil is wise, so is that of every Woman."

This piece was inspired, in its premature stages, with a lone crane feather found on the side of a river bank. With that feather, an idea came, and that idea directed to the self portrait, and then to needing something more to accentuate that piece itself. And seeing how this is a self portrait piece, needed to pick two figures that I reflected to as an artist, which is the Knight and the Sibyl. The knight and the Sibyl are each associated with a being where I find I always seem to think of when I feel the most inspired; a horse and a dragon. I am glad to have had the chance to create this piece before I continue my artistic growth in California in a week. I even have another idea about a story to do with dragons that came from this piece...but I won't spoil that one for you just yet.

Your Common New England Bird

watercolor, pen, 11x14"

Being surrounded by so many birds lately, I had the opportunity to be in the presence of my inspiration for this peice. These birds I saw were those common to the Vermont forests: Blue Jays, American Gold Finches, Cedar Waxwings, Crows etc. Yet, even though, I was engulfed by these beautiful creatures, I wanted to make one with a bit more color. Hard to say, this guy spawned from a crow.

Is it Ready?

Watercolor, pen, 11x8"

After being on the Battenkill River (Vermont) for the past 4 days, I have seen so many rock sculptures and they looked so stable and serene. So I made some too. Some were successful, some failed to defy gravity. Then I got to thinking, what if a scruffy looking Gnome was going creating these sculptures I see randomly place along the river? Thinking along those lines, I found that making these sculptures just right takes time, stability, and patience. Much like the point where all artists come to at the 'end' of a piece: "Is it Ready?"

St. George and the Dragon

18x20" watercolor, ink, color pencil

I have begun a journey that puts me away from my comfort zone and into a new and unknown territory. That can be said for both my work as well as my travel to the other side of the country within the month. But, as I have so much to yet discover what watercolor deems to uphold, I am attempting to discover the possibilities this medium can give. What better way to practice that notion, than on a piece itself rather than on a scrap piece of paper. Yes, one may find that practicing on scrap can give you a feel for what exactly you are trying to achieve, but will you really know where and how to apply it when you get to that point?

Eowyn and Windfola

20x9", watercolor, ink, pencil

I have always related myself to Eowyn in J.R.R. Tolkien's Lord of the Rings. In his work, Tolkien describes Eowyn with longing to win renown in battle due —more so because she was royal and the fact that her family has been disrupted by Orcs—but being female, her duties were not so related to such tasks. Therefore, I admire her as a shield-maiden that went against norms, going into battle, grieved but determined.

Beyond the Horizon Line

I was looking at my self portrait humanoid that lead me to have an epiphany as to why this idea came to my head. I am going to the west coast to earn my MFA in Illustration. In my piece I am a centaur/snake looking starkly at my horizon with this snake-like dragon next to me. This creature is my artistic muse looking at a mass of clouds that are pure, white, and void; showing no hint of what is beyond the point where he and I are standing. But I stand ready, strong, with a look of acute anticipation. I will go to places that my muse takes me.

watercolor, 16x20"

This piece is the turning point in my life.

Storm of Feathers and Fur

16x20" watercolor

An illustrative piece with aspects of barbarians versus the civilized. Who will you take sides with in the Storm?

Self Portrait

16x24" oil on canvas

Working more with watercolor, I can say working with oils was a challenge seeing how it took an opposite approach than that of my typical medium of choice. Yet, one thing I truly appreciative towards is the fact that oils required me to loosen up, using the medium in one or two layers than that of four or five. Because the medium itself is so rich and untouched by any thinning agent, it didn't require me to work in a step by step basis, allowing me to apply and leave. The texture of the medium itself gives the composition what it needed without the yearn for constant working over. I especially enjoyed the free application oils gave me and how the saturation of the colors were still so vibrant.

Study of a Master: Thomas Eakins

Study of Thomas Eakins "Study of a Woman", 16x20", oils

With watercolors, I am highly particular to design and detail. With oils, I am looser and more prone to work with the medium rather than working against it. This was an interesting piece to do. Helped me understand the Masters much like the Impressionists and how they established such a thick application of medium, or how they were known for their very loosely based styles. Very different from my norm, but this study taught me the use of color against others, clashing so predominantly.

Little Gardian

16x20", watercolor

This piece illustrates a certain location in the park near the house I grew up in. There, a dead tree lays, surrounded by tall, thinned stemmed, green plants with small orange flowers. This small valley of florescent green is encompassed by these ridges of leaf-covered floors of moss and grey colored trees.  When I first discovered this area, I sat upon a fallen tree, just over-looking this serene place. And that is when I saw him; a little guardian that protected this miniscule place of purity. I saw how it lived amongst this small place, helping the small bright orange flowers grow, and how, perched on his branch, stayed alert over his proud garden nurturing to its every need.

At first, I attempted to practice on a separate surface to try and figure out how John Howe rendered his foliage, which is established in so much of his work. Yet, I had some trouble understanding his techniques, therefore, I stuck with what a knew with some more experimentations. I will keep practicing. I hope that I can properly execute this place someday, because I really want to show my audience the true magic that this small encompassed place had to offer, with all its detail.