My illustrations are a synthesis of my previously opposing lifelong interests of painting and sewing. During my MFA education at the University of Hartford I spent several years of trial, error, and experimentation honing my mixed-media techniques. I’ve never seen anyone else create art in the same way, and as far as I know I invented this process.
All of my artwork is 100% human created, and I never use generative AI in my creative process.
Step 1: Research and Sketches
I reference folklore, mythology, astrology, and other metaphysical topics to come up with the symbolism in each painting. Every element included has a meaning and helps tell the story. I do several small thumbnail sketches to figure out a general composition, and I focus on creating imagery that is dynamic and visually striking.
Step 2: Line drawing
Compositional thumbnails and photo reference are combined to create a refined line drawing. I usually use brush-markers, Col-Erase pencils, graphite, and tracing paper. Afterwards I scan the drawings and add the geometric elements in Photoshop.
Step 3: Color Studies
I experiment with color in Photoshop or ProCreate, where I can quickly test out multiple value structures and color combinations.
Step 4: Select and Prepare Fabric
When selecting fabrics, I reference my color study and choose materials based on color, pattern, method of printing, scale of pattern, and sheen of the material. I like to mix patterns and incorporate shiny fabrics like satin.
Step 5: Transfer Drawing & Cut Fabric
I use a variety of different methods to transfer my drawing onto the fabric, most frequently using my inkjet printer. Once the drawings were transferred, I cut them out with scissors or an X-acto knife.
Step 6: Prepare and Paint Background
The background of each is created with a patterned piece of fabric. In the example below, I used a white cotton fabric with a white screenprinted pattern. I apply washes of acrylic ink to match the values in my color studies, and apply thick layers of acrylic paint in areas that I do not want the pattern to show through.
Step 7: Adhere Fabric Pieces
I wrap the background fabric around a wooden board and attach foam core behind each shape so they will stack at different heights. I then carefully position and adhere each shape to the background.
Step 8: Nails
I hammer nails into the background (and sometimes the foreground) of the painting. This step is particularly nerve wracking because I am hitting a painting I have spent many hours on with a hammer!
Step 9: Threads
I wrap embroidery floss around the nails to create the geometric shapes in the foreground.
Step 10: Photography
Since the finished paintings are three-dimensional, I can’t just scan them with a scanner. I hire a professional product photographer Jonathan Bishop to photograph all of my paintings. We collaborate on set so I can make sure each painting gets the shadows and reflections that I want represented in the reproductions I sell.
The FINAL PRODUCT
