I have new paintings in another February 2026 group exhibition, this time in Fairfield, Connecticut, with the George Billis Gallery.
The Art of Clear Thinking is a self-help book published in 1951 that inspired these two paintings. For decades, centuries and indeed millennia, people have sought out guidance in books to help improve their lives. And now I get to use these books as a launchpad for composing paintings.
I have two paintings in a group exhibition at the Robert Lange Studios in Charleston, South Carolina, for the month of February 2026.
The group exhibition comprises paintings from several artists inspired by books and the written word, a subject that I have explored since the beginning of my painting career. At the beginning, the books were mere props, but quickly became a very direct, literal theme.
Paintings of books embody the themes and ideas from within the pages, from the earliest childhood introductions to books and reading in primary readers, the hope and optimism in so many of the titles, to the depth, knowledge, and wisdom in the literature anthologies. Painting these books is a lament on the forgotten art of reading. The slow, deep thinking, processing, and even being transported from the present moment. Perhaps a painting of books could inspire someone to take an adventure into the world of reading.
It is the tenth year of Itoya in Japan publishing a calendar featuring my paintings, and they ship worldwide.
→ Find the calendars on the Itoya website at this link.
Using a modern web browser, you can easily translate the website to make an order.
Featuring twelve paintings as a wall or desk calendar, the wall calendar is printed on sturdy, heavy-stock paper, measuring 23½ inches x 16½ inches. The desktop calendar is 6¼ inches x 5¾ inches. The calendars are printed for the Japanese market and feature Japan’s national holidays.
A bit of a spillover on the bubble gum, this painting recently arrived at the George Billis Gallery in New York City, at the gallery’s new location on the Lower East Side.
Let’s be honest, I almost forgot I even had a website to maintain. There are too many distractions out there. While I’m forgetting to update this website, I’m still painting every day, as I have for 20+ years.
These four new paintings recently arrived at the Billis/Williams Gallery in Los Angeles, where my next major solo exhibition will take place in February 2026.
I’ll be updating the website more frequently as I work on the paintings for the show. I have my work cut out for me.
I have four new paintings showing at the upcoming Seattle Art Fair (July 17-20). The Billis Williams Gallery will display them.
My next major solo exhibition is scheduled to take place in Los Angeles in February 2026. Given the pace at which I work, I need to start preparing now, seven months in advance.
My paintings have been more complex over the past few years. Whereas in the past, single objects were featured, I’m adding more and more to the compositions.
Having all this work that needs to be done is a great way to stay distracted and avoid the doom and gloom of the news cycles.
I’ll be in New York City on Thursday, June 5, for a reception (6pm to 8pm) to discuss my current paintings, which are on exhibition at the George Billis Gallery.
This piece is inspired by the recent large painting I did. If you look closely at this one, you’ll notice that the clock is positioned exactly in the center of the 40 x 40-inch canvas.
A new pair of typewriters is on the way to New York City and will be displayed at the George Billis Gallery in Manhattan.
I have two 10-inch by 10-inch paintings at the George Billis Gallery in New York City. It has been a few years since I painted some.
Over a year ago, the George Billis Gallery was approached by an art collector with the idea of a large commission. George got in touch with me and gave me the proposal. I was initially intimidated by the scale of the painting—four feet high by eight feet wide. How would I even move something like that around the studio?
I figured out the logistics, moved things around in the studio and started to work. Everything went much smoother than I had anticipated. The collector was very open to the ideas I sent, and the result is a painting that represents almost the entirety of the subjects that I have depicted in paintings for the nearly two decades.
I was given ample time to work on the painting, which was a blessing. I spent months and months with this canvas, and the slow but steady build-up of paint and color was an enjoyable experience.
Of course, the one lingering thought that kept me up at night was how to safely ship the completed painting across the continent. I am on Vancouver Island; the painting is headed to the Upper West Side of Manhattan. How does this go smoothly?
I worked with a local framer who was accommodating and knowledgeable about framing such a large painting. They did it in record time. Then, I had a local carpenter and shipping expert prepare a crate. The painting was safe. It was loaded onto a plane in Vancouver, carefully unpacked once it landed in New York, and installed in the collector’s home by George.
Over the years, I have received many commissions, but this one has been the most challenging. And I am so happy with the results.
