The Story Behind a Painting
The Young Guardian
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click to see finished work
20 x 32 in. - pastel on bristol board - 2017
sketch and 1st layer
original photo
Some paintings begin simply because a moment feels worth remembering. The Guardian is a portrait of my granddaughter, Leilani, wearing one of her favorite Halloween costumes from several years ago. She had dressed as Raya, and there was something about her expression and the pose that immediately caught my attention. I knew it was a moment I wanted to preserve.
One of the things I enjoyed most while creating this painting was working with the rich colors and details of the costume. The vibrant fabrics and textures made the painting both challenging and rewarding, allowing me to explore color in ways that brought the portrait to life.
The original photograph was taken in our living room, but I knew that background wouldn't support the story I wanted the painting to tell. I experimented with several different ideas before settling on a rustic outdoor setting that felt more adventurous and complemented both the costume and Leilani's quiet confidence. The new background transformed the portrait, creating a setting that felt natural and believable while allowing the character to become the focus.
Although inspired by a favorite Halloween costume, this painting became much more than a memory of one evening. For me, it captures a child's imagination, confidence, and the joy of becoming someone else for a day. It's a reminder that some of life's most meaningful moments come from ordinary days that deserve to be remembered.
Awakening
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1st sketch
a few layers
Awakening began as a creative exercise with a simple challenge: create a semi-abstract painting by incorporating three recognizable objects from the world around us into a single composition. As the painting evolved, those familiar elements became something entirely new, blending together in ways that invite the viewer to look a little closer.
Two of the hidden elements share a musical connection, while the third was inspired by a dessert I once enjoyed. They're woven into the painting rather than placed front and center, becoming part of the overall design instead of obvious focal points.
So here's my challenge to you...
Can you find all three?
Look carefully. Sometimes the most interesting details are the ones that aren't immediately obvious.
One of the things I enjoy most about creating semi-abstract artwork is allowing the imagination to take over. Every viewer discovers something different, and no two interpretations are ever quite the same. While the hidden objects were my starting point, the finished painting became something much larger—a celebration of curiosity, creativity, and the joy of seeing familiar things in unexpected ways.
Can you identify the three hidden inspirations?
Leave your guesses in the comments or send me a message. I'd love to hear what you discover.
finished work
30 × 40 in. -acrylic on canvas - 2024
Human Destruction
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Finished work - 36 x 24 in. - acrylic, mixed media on canvas -2026
sketch on toned canvas
Human Destruction grew from reflecting on the choices we make as individuals and as a society. Rather than focusing on a single event, the painting explores the consequences of human actions and the lasting impact they can have on both ourselves and the world around us.
As the composition developed, I found myself thinking about the balance between creation and destruction. Every decision we make has the power to build something meaningful or slowly erode what we value most. The painting became a visual reminder that our greatest strength—and our greatest responsibility—lies in the choices we make every day.
While the title may seem heavy, my intention was never to create a message of hopelessness. Instead, I hope it encourages reflection, conversation, and a greater awareness of our ability to choose compassion, wisdom, and positive change.
copy of original
Self-Portrait inspired by Floating Head Over the Desert
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The self-portrait began with a surreal painting I discovered recently—an unusual image of a face floating above a desert landscape. The composition stayed with me, and I decided to use it as the inspiration for a painting exercise of my own.
I first reproduced the original figure, and then I transformed it into a self-portrait, replacing the face with my own. This changed the character of the painting and made the experience much more personal. I adapted the features, colors, and details while exploring the strange, dreamlike quality that had originally attracted me to the image.
What began as a study of another artist's composition gradually became an exploration of how an existing idea can change when you place yourself within it. Seeing my own face emerging from this surreal landscape gave the painting an entirely different presence.
I once knew the name of the artist who created the painting that inspired this piece, but unfortunately, I have been unable to relocate that information. If I am able to identify the artist again, I will gladly add the appropriate credit.
self-portrait inspired by original
original concept
On the Rocks
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On the Rocks began as an exploration of how familiar objects can become more interesting when they are brought together in an unexpected composition. I combined a cocktail glass, wine bottle, cork, draped fabric, and a large white lily, using the rich red background to tie the different elements together.
What interested me most was the contrast between the objects. The lily is soft and delicate, while the glass and bottle have hard, reflective surfaces. The folds of fabric add movement, and the cool whites and blues of the flower stand out against the warmer reds surrounding it. Each surface presented a different painting challenge—transparent glass, reflections, fabric, and the subtle shading of the flower.
The title On the Rocks adds a bit of playfulness. It can suggest a drink, but it also carries another meaning—something going through a difficult or uncertain time. I like that little bit of ambiguity because it allows the viewer to create a story around what might otherwise simply be a collection of still-life objects.
On the Rocks
24 × 24 in.
Acrylic on canvas
2024
