A couple weeks ago, in January, when it was as cold as a frozen bone, I made a large fire, using logs of birch, because I wanted some chunks of embers and ashes for next painting. My idea was an abstract representation of my studio, a painting that would embrace the heavily textured surface of the canvas. 


I started by using tape to portray the images I thought I might want. That took a couple of days,staring at the canvas, taping and retaping, until I felt I had an image that I liked. I knew from the start that I would use orange, yellow, and black. A strong and uncomplicated color scheme.

The Studio is 36 x 36, on a gallery canvas.

Cow the Cat is visiting my studio today.

We have a fire pit in the backyard and like most folks, with a fire pit, we utilize it to burn a marshmallow, bake bread on a stick (Really! It's quite good!) or roast a hotdog once in awhile. 

I had ran out of acrylic pumice and I wanted something to mix with my paint, something with some character and oomph, then Tami said, "What about all the ashes and chunks of charcoal in the fire pit?" I scooped about about a gallon of ashes and cold embers. I mixed the ashes with a gray house paint, then I went to town on this 36 by 36 canvas. The paint was like a dense lava with small boulders in it. I loved it.


After it dried, I had this canvas with a very interesting field. But what to do with it? I kicked ideas around of how to use it -- portrait, landscape whatever. I made my mind up after I saw some work by Beauford Delaney at the Minneapolis Institute of Art.



The painting, Enbridge Pipeline and Northern Minnesota, has been accepted at the Robbin Gallery fine art juried Extremely Minnesota Exhibit. The show will run from November 4 through December 24, 2021.


A tar-sands oil pipeline is under construction across northern Minnesota. The pipeline crosses through wetlands and lakes with seasonal wild rice harvests, as well other fragile habitat. There have been ongoing protests led by Winona LaDuke, Anishinabe peoples, climate change activists, and more, but to this point the powers-that-be are winning the battle.
Dimensions: 26 x 38
Material: Acrylics and paint pens on watercolor paper


Is Your Mother Well? 36 x 36.



Homage to the abstract expressionist artist Robert Motherwell. My painting is a take on his painting German Line No. 6 which he painted in 1972. He used a cigarette pack in the center of the painting; I used a ticket stub from a concert i attended while on acid in the 1970s. Motherwell hung out with Pollock, Rothko, Tanguy, and other wild painters from the 50s and 60s. He also had a stormy marriage to the great Helen Frankenthaler.


When I saw that hazmat suits were being sold to the public I thought, holy crap. Then when I saw what the actual hazmat suits looked like, I just had to make a painting about them some how.

I feel the bold colors are meant to exaggerate the absurd world we humans have created and live with now, what with droughts, floods, fires, chemical spills, and smoke, as well as the Covid viruses. I've drawn four in this series to this point, and I have another one soon which will depict people in hazmat suits at a dance party.

Art collectors from Ramsey, Minnesota purchased a commissioned painting based on the band Mumford and Sons.


To get an idea of how and what to paint, I printed out the lyrics to five songs that meant something to the art collectors -- I also listened to a bunch of Mumford songs, as I was mostly unfamiliar with the band.


I was taken with the lyrics from the song Hopeless Wanderer. The last line of the song is "I will learn to love the skies I'm under."


I used acrylic paint, pumice, thin art paper, and Thompson's Whiskey.

Using tissue and typing paper, I transferred the lyrics from the song Hopeless Wanderer. I soaked the paper in acrylic medium and whiskey, then I added it to the canvas. I also used regular printer paper with the lyrics, as well.

The band would like to start a whiskey brewery, as they are big whiskey afficionados. Hence, the whiskey in the art.


The title is The Skies I'm Under. The painting is 24 x 48 inches on a gallery canvas.


I returned to a painting, Woman with a Blue Shawl. I had thought I had finished her a couple years ago. Even then, i wasn't too sure the painting was complete, but I felt it was time to set the painting aside and move on.


For this painting, unfinished in my mind, I decided to just have fun with it, let loose, and enjoy the physical act of painting. I applied dark lines and wet whiskeyed-down acrylics, to allow the texture to give this woman some character. She's a tough gal, someone with an interesting life and story.


I like the painting much better now. On instagram, I renamed it Scritchy Woman, but she really is The Woman with the Blue Shawl. 36 X 12 gallery canvas.