Fall 2022: Painting continues (see below for paintings currently on the easel). I also continue to explore ideas for new paintings.  At the moment I have a bit of an obsession with “AI Art Generators” like DALLE-2, Craiyon, and Midjourney. Left and right: two medium-resolution images generated with Midjourney. (L: Organ grinder on the beach; R: Stephen Hawking in a “van Gogh” setting.)




Both images after extensive “over-painting.”





Fall 2022: Painting continues (see below for paintings currently on the easel, specifically  On the Road Again). I also continue to explore ideas for new paintings.  At the moment I have a bit of an obsession with “AI Art Generators” like DALLE-2, Craiyon, and Midjourney.

I first began playing with Craiyon a few weeks ago; the sketches were surprisingly compelling, perhaps a bit like the doodles of a promising art student who has taken a mild dose of psilocybin?

Here are two image sets done with Craiyon. I have included the prompts I used to generate the sets; note the use of the name of an artist as an  influence on the style of the output. Among the AI generators I have tried, Craiyon seems to have the most interesting, often rather Dionysian, imagination; the limitation (at the moment and in my recent experience) is the inability to scale up to a more detailed sketch.


May 2022. Left: Woman with Cat (Hebuterne version). Right: On the Road Again (Ophiomancy).  These are digital sketches for new oil paintings. I have been working with this imagery, in particular the Jesus-in-Wheelchair theme, over the past several months. Ophiomancy refers to fortune-telling by snakes: a serpent appears in my dreams . . . what does this portend? Click on images for detail.




Another digital sketch on the Jesus-in-Wheelchair theme. All the elements here started as 3-D models (i.e. the wheelchair, Christ figure, and the city); many of the neon signs in particular were built by hand using Blender and other digital software.

This theme flows from previous work  – i.e. a series entitled The Convalescence (i.e. a Hellenistic teacher-healer is roaming the world in search of healing from his near-death experience.)





Left: The Trinity with Martyrs. This is an oil painting currently on the easel. The few friends that have seen work-in-progress on this image seem to find it particularly repellent. Given the strength of their objections, I “shelved” it for several weeks . . . only to return to it recently. The appeal (for me) seems to lie in the way it embodies a set of primordial fears and insights (into the nature of time, human morality, etc).

Right: The Cartomancer. A tarot reading takes on nuances of a poker game. Digital sketch for possible oil painting.



Gothic Cityscape with Angel (click the image for detail).  This is the digital sketch for an oil painting currently nearing completion. As suggested above, the cityscape is a 3d model; a few of the neon signs are of particular interest since they required hours of “hand building” (with 3-d software such as Hexagon, Blender, etc).  


Left: I seem to have gone through a mid-summer obsession with the therianthropic Serpent-in-the-Garden theme. The therianthrope (part human-part animal) appears early in the history of art (in the caves of the Upper Paleolithic) and is typically associated with Shamanism. As a child, the Serpent-in-the-Garden was my first encounter with such creatures. As the story was told to me (based loosely on the opening chapters of Genesis), a woman, walking alone in a Primordial Garden, was enchanted by the poetry of a talking snake. In early Christian depictions of this story, the Serpent has the upper body of a seductive woman. Most of these images have more recently been relegated to my “need further consideration” file.

Right (click for detail): I will admit that I find my “Isenharp” set particularly weird. The screaming Christ on the Harp is inspired by a pilgrimage to Colmar, France, to see the Isenheim Altarpiece by Matthias Grünewald.  (The ambivalent nature of the harp also features in the work of Hieronymus Bosch.) The theme is ostensibly “Redemption through Suffering” (the Isenheim Altarpiece was originally intended for a Medieval hospital).


This is a recent view of the studio, with an “Owl and Pussycat” version of the Salvator Mundi on the easel. Other paintings – awaiting final touches and framing – are visible as well.

In order to categorize and “accession” my work from the past two years, I created a virtual art gallery, the Oneiros Gallery (from the Greek word for dream).

This is the entrance to the Oneiros Gallery including the list of 12 or so  featured paintings. While the gallery itself is virtual (i.e. digital 3-d) the work is real (oil on canvas), framed and sized as shown.  Details of the paintings are available in Gallery One (see menu).

Here are a few additional views of the interior of Oneiros Gallery.

Below left: this is the hallway leading to the studios. The artists themselves collaborate on decisions regarding featured artwork in the studio area; in this case, a Cimabue altarpiece (late 13th century) is juxtaposed with the Francis Bacon Crucifix it inspired.