During the winter, one of the treats is having my Amaryllis come in bloom after the holidays are over and before the spring starts to pop color. I’ve had these two plants for a few years. Each of my amaryllis bulbs spends its summer outside in my garden, but still in its pot. They prefer to be snug rather than planted in big spaces. I keep them in the dark in my plant room until I put all the holiday decorations away. Then, I bring them into the dining room where they get southern sun through the windows and they begin to come back to life. Oh, and BTW, their real name isn’t Amaryllis, it’s Hippeastrum.

These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

Since I am very comfortable with technology, I use different programs where it makes me more efficient and productive. I’ve always used a grid system to upsize my drawings to canvas. Now I use Procreate in that capacity. Once I finished the composition in Photoshop, I imported the file into Procreate on my iPad and created a grid. Then, on the underpainting, I use pastel to transfer the grid and flower outline to the canvas. Using a wash of Titanium White and 50/50 Galgyd/Gamsol to continue to my painting process.

These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

I always work on my compositions on my computer since that’s the most efficient way for me to create. Since I’ve been working with computer graphics systems since the early 1980s, I am completely comfortable and also very open to experimentation on my computer. Since I want to make a square painting, I cropped the flower in multiple ways and finally decided on this treatment. Then I tried many combinations of images I have from NASA and selected the color treatment I wanted for the painting. Using masking in Photoshop, I added the space imagery behind the flower to give me an idea of how that would look. I liked the outcome and will use this as my model.

These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

For the last 35 years that I’ve been creating and maintaining my garden, I’ve taken many thousands of photos. In my Mac Photos app, I have sorted them into garden photos, flower photos, closeups of flowers and then into closeups of individual flowers. This collection is the backbone of my art. It is the inspiration behind all my paintings. Now that I’m planning my next painting, I again returned to my collection for inspiration. 

These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

Another day in the studio working on the center of this painting. I decided to add some detail to the center of the seed pods, which is what happens as they mature in size. For years, I studied and worked in botanical illustration, but I’m not aiming for accuracy in my current work. I am interpreting what I see and know about flowers, but I don’t want to reproduce them in paint. I am instead trying to provoke thought and conversation about their and our purpose and place in the universe.

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These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

The way a painting looks is so very different based on the distance you stand from the work. I wanted to paint the center sprinkled with the pollen that falls from the ends of the stamens. Depending on the age of the flower, the pollen changes color and texture. I’m not trying to make a botanically accurate painting, but one that speaks in rhyme about the anatomical parts of flowers. Only the center in this painting is based on flowers.

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These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

Each time I finish a piece of artwork regardless of what medium I’ve used, I document the work. I call this “productizing”. Each piece is given an Index number that will follow it throughout it’s existence. It title the work and at times the name has changed but the Index number never does. I use apps to track the work and a spreadsheet for quickly looking up the details of the work. The process I use is one I’ve developed over decades.

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These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

I had read somewhere that the irises of our eyes are like fingerprints, none of them are alike. This intrigued me, so when I stumbled upon a business that photographed your irises, I handed over my charge card. The setup was just like going to the ophthalmologist for an eye exam. I put my chin in a cupped holder facing a large piece of equipment, which was the camera equipment. The camera was moved into position very close to each of my eyes. It took longer to write up the order than it took to take the image. Later, I received an email with a download link to retrieve the digital images of my irises.

As expected, my right and left eyes didn’t match, although they had mostly the same colors. For my upcoming show in NYC in November, I decided to make a painting inspired by my irises. Those iris photos are the inspiration for the painting that is currently on my easel.

These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

Today was a day for planning on where I was heading for a painting I’d started. I had plans in my mind about what I was imagining would work but I had some hesitation. So I decided to try a few potential solutions on my computer rather in my studio with paint. Having worked with computer graphics since the early 1980s, I’m very comfortable, let’s say, extremely comfortable, working out compositing issues and possibilities with pixels.

First I headed to my photo library on my Mac for candidates, then brought them in to Photoshop to try them out. It quickly became apparent to me that the intial vision I had for the painting wasn’t going to make me happy so I zigged and zagged into a completely different direction. By testing solutions in this way, I saved myself many hours, days and potentially weeks trying choices with canvas and paint. Now, I know what will work for me and I will just be able to move forward towards that goal.

These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

Busy today in the studio working on 3 different paintings. I oiled out the just completed hibiscus painting with a recipe of 50% Galgyd/Gamsol. I pour the mixture onto the flat canvas, use a large brush to spread it, and to get even, full coverage. After 5 minutes, I rub the surface of the canvas with a Viva soft paper towel to buff the extra mixture off and create a mild but even glow.

The second painting had me sketching in the outline of the flower using pastel that I’ll be painting over the initial layers on the round canvas. And the third project was unwrapping and gently sanding a fresh 30×30″ canvas. Then I began brushing on the beginning of an underpainting using an image from NASA as inspiration. I love being productive!

These daily studio notes lead toward my 2026 solo exhibitions in New York City and  Poughkeepsie, NY.

February 4, 2026

Ever sign a painting, only to discover you missed a spot? That was me today. I work on gallery-wrapped canvas and paint all the edges to skip framing, but when I lay my ‘finished’ piece flat, there it was—one unpainted bottom edge staring back at me. Matching the colors and brushstrokes was trickier than expected. Good thing I keep detailed notes on each painting!

Today I took delivery of a new canvas and began a new painting. There weren’t many places for me to buy a 36″ round canvas but I found this one online at Dick Blick. It came boxed very carefully, I’m glad to say. My first concern is finding the center and creating the correct proportions for the underpainting. I dug out a compass from my wayback stash and it was the perfect solution. Then I proceeded to put the first layer of oil paint down. Very productive day in the studio!

Take a peek at this short video for studio glimpse!