Illustration & Design
While a visual artist, I am first and foremost a story-teller. Each illustration I create is done in complete reverence of the narrative.
What events have shaped this world?
What motivates these characters?
What were they doing moments before this scene?
Whether I'm portraying original characters or drawing inspiration from popular media, my objective is to infer the entire story in a single static image.
Bedlam on the River Styx
Oil on canvas, 30x40"
The subjects in this piece pulls from artists like Waterhouse and Falero as well as the complex character interactions seen in Baroque paintings. It depicts a witch navigating the impossible conditions of hell along with a ferryman who probably wishes he refused this fare. The lantern hurtles helplessly toward the water with fire that shares the same color as the witch's hair. If she should plummet into the river of tormented souls, she will suffer the same fate as that of the fragile flame. In the sky is behind the ferryman's head is a single point of visible blue sky - a small keyhole into paradise teasing hope to the damned denizens locked on the other side. Every figure, whether the human subject or the grotesque leviathan in the background, is suffering. Perhaps none of them are heroes but do they all deserve to be here? This is unclear but barely-visible structures on the horizon hint that time might not pass here as it does on the mortal plane. Each detail in the central figure tells a long story about a warrior queen shaped by an unforgiving world. Each piece of her attire is lovingly-crafted while possessing a martial utility. While exceptionally equipped for combat, she proudly leaves parts of her person unarmored to reveal the scars she has earned. However her attire here is pristine. Each of her many blades have been bloodied except the small carving knife she is holding with delicate precision. While she holds respect for her deadly bounty, this was not the kind of battle that earned her queendom; this was merely a hunt.
Quarry of the Goblinoid Queen
Oil on panel, 16x12"
This painting evokes the work of Frazetta and the larger imagery of pulp fantasy and sci-fi works. The composition would look right at home on a paperback adventure from 50 years ago while the cotton candy color palette creates a distinctly 80's atmosphere. Each detail in the central figure tells a long story about a warrior queen shaped by an unforgiving world. Each piece of her attire is lovingly-crafted while possessing a martial utility. While exceptionally equipped for combat, she proudly leaves parts of her person unarmored to reveal the scars she has earned. However her attire here is pristine. Each of her many blades have been bloodied except the small carving knife she is holding with delicate precision. While she holds respect for her deadly bounty, this was not the kind of battle that earned her queendom; this was merely a hunt.
Rise from Your Grave!
Digital media, 12x24"
In the early days of video games, cover art made a promise the primitive visuals could never hope to keep. This illustration is directly inspired by the maximalist key art that gave context to the pixels. In the chaos, it is easy to confuse the heroes with the villain. However the triumphant posing of the wolf man and dragon, along with their vertical dominance of the composition, separate them from the larger mass of monstrous creatures and perfectly-sculpted abs. Do werewolves and pink unicorn men fit naturally in this vaguely Greco-Roman fantasy motif? Maybe not but it certainly looks exciting!
Krabz in Space
Acrylic on canvas (with digital titles), 42x27"
Before "floating heads" became the industry standard, film posters were an artform. The job was doubly important for low budget schlock fests relying on exciting key art to attract audiences. The short film for which this was painted is a chaotic blend of horror, comedy and colorful visuals. The composition is equally chaotic with intersecting lines creating a wide number of focal points. The inconsistent lighting, scale and motivations of the larger characters depicts a complete story condensed into a single image. This provides the viewer with a very irreverant vertical slice.
Spacescapes (Series)
Acrylic on canvas, 20x40"
Before digital film effects, our favorite worlds were brought to life with matte painted backdrops. Iterating on this technique, this series has two prime directives: 1. Serve as background layers for a short sci-fi film. 2. Stand alone as individual paintings with dynamic compossitions. "The Void Stares Back" arranges space debris to hypnotic effect. The spiral of rock shifts the focus to the central star like a celestial pupil. This and the tentacle-like rays that emerge evoke classic cosmic horror themes. "At the Speed of Justice" is more action forward. Loud color and aggressive shape give the viewer a strong (though vague) sense of urgency toward an exploding star. "Celestial Tear" explores the idea of space as a kind of fabric. What catastrophe would result from that fabric being torn open from the other side?
Vanishing Point
Acrylic and projection animation, 48x72"
Combining traditional painting and multimedia, this painting was designed for a hybrid exhibition/live paint pop-up. Projected animation effects and UV reactive paint are meant to add an eye-catching dynamism for guests. The flashing police lights create an immediate sense of danger and excitement as the vehicles appear to fly along at impossible speeds. The driver's face has a calm determination hinting at a lifetime of situations like this one. The glowing cybernetic eyes give him a sinister visage but perhaps he is outrunning an oppressive dystopian world that has lost its soul. All of the objects appear to intersect at the titular vanishing point in the lower right third. While the protagonist's direction is clear, the flat silhouette of the cityscape gives us no additional information about his ultimate destination. When he reaches the horizon, will he finally vanish from his troubles or is he chasing something forever out of reach?
Girl's Best Friend
Acrylic and projection animation, 48x72"
From the same series as "Vanishing Point", this painting captures a quiet moment in what is surely an eventful sci-fi world. Our relationship with technology (especially that of an artist) is an important conversation. There's a quiet tension that builds as the machinist's soldering device charges before a geyser of sparks cuts through an otherwise mundane moment. While deactivated, emotive icons on the connected screens hint at her companion's programmed personality. Equal parts playful and determined, she seems to truly love her work. The state of robotic chop shop belies an artist's madness. Though small in stature, the young woman sits determinedly atop the hulking automaton as she shapes its every thought. While some are content to let machines create for them, she is undeniably the creator.
Sky Kingdom Siege
Watercolor on cold press, 11x15"
This scene depicts a classic battle of good versus evil. While the plot is straight-forward, the economy of color and form is a complex language that makes negative space the true hero. Human warriors struggle to hold the line as inky blue fiends scale the floating island kingdom. While the heroes share an armored design, the villains all take completely unique shapes. Perhaps they are not creatures but manifestations of evil itself. The central knight masterfully dispatches the monster before him but his face is strained. How can he protect the castle from such an unknowable threat? While his spherical armor is eye-catching, some of the most interesting interactions belong to the bit players in the periphery. A blonde fighter takes on a titanic foe alone and a long spearman bites off more than he can chew. A thin indication of blue sky frames a handful of negative silhouettes flung helplessly into the air. The viewer is given just enough visual information to frame the story while providing plenty of room to project their own imagination within the details.