Thank you for visiting my gallery. I
am responding to a calling to use my artistic talents to inspire greater
understanding of Biblical themes. Commentary about some of the works
below follows the section of images.
I work in both open and closed grisaille
painting styles, which involve numerous thin coats of transparent glazes
over a period of weeks to years. As a result, many of the images below are
of unfinished works.
If you are interested in learning more about or purchasing any of my artwork,
including the commissioning of new works, I can be reached at
254-675-3117 (home), 254-640-2318 (cell) or by email at
Commentary on Some
"Welcome Home" Jesus used the parable to
illustrate God's unending love and forgiveness, and to challenge His
followers to emulate this behavior. While the biblical account ends with the
father pleading with the faithful son to join in celebrating the return of
the prodigal, the painting continues the story. It shows the faithful son
overcoming his resentment and responding to his brother with love after his
father assures him that "you are always with me, and everything I have is
yours." The parable reminds us that the undeserved favor and grace the Lord
bequeaths to His faithless children are greater than the earthly inheritance
that we may be jealous of, or squander.
"Nativity - Light of the World"
A commissioned piece on "St. Joseph and the Holy Family" is the first of the
seven joys of Mary. In it, I've tried to draw a simile between St. Joseph
and Christ's heavenly Father, as well as Mary to all of God's children. We
see St. Joseph tenderly looking upon his son and holding the light that
illumines the scene. The light represents the Holy Spirit, which wishes not
to be revealed, so much as to reveal the loving nature of God the Father and
Son, their relationship with one another, and us. The candle's flame is
therefore somewhat obscured by the hand of the Father, Joseph. Let us
remember that we are to be like Christ, the perfect example of selfless
love, who unites us with the Father (as the outstretched arms of the infant
touching both the father and Mary in the sign of the cross), and to live a
life of Charity. God indeed, dwells with us forever.
"Sketch - Reception of the Body" The sixth of the seven sorrow of
Mary, examines the horror and turbulent disbelief of Christ's followers
brought on by the death of their teacher. In the descent from the cross and
the reception of the body, we have to deal with the lifeless corpse itself.
We must handle it and strain to carry it. In the sketch we see open
lamenting, fear, and hopelessness. Yet others, although bewildered by the
death, prepare the body for burial. Mary stands at the left of the scene, on
the same visual plane as her son, restraining a disciple who seems to want
to run. Her proximity to Christ and her half-open gaze out to the viewer
suggest that she wants to remind us of her son's promise in the
Resurrection. The composition is in the form of a heart, flowing from the
foremost figure up and around the heads of the others eventually resting on
the wound in Christ's side: the wounded heart that Simeon prophesies in
"King of Tremendous Majesty" This is a personal reflection on
conversion. The three figures are self-portraits, varying in likeness to me
from the least in the soldier on the left, to the most in Christ. The
soldier on the left wantonly abuses Christ, but his attention has moved from
the obvious suffering of Christ, to his comrade, who has just pricked his
thumb on one of the thorns of the crown. We can imagine that this small pain
causes a cessation in the abuse and possibly a realization of the pain he
inflicts. The central figure, Christ, accepts the mockery of kingly
vestment, the crown of thorns, and the reed for His scepter. But He goes
further than passively accepting the mockery of his true kingship. In the
sign of benediction, He offers us peace. We may all hope to move away from
the abstracted images we have made for ourselves, toward powerless,
selfless, recreated images of Christ.
"St. Simeon the God Receiver" The first sorrow of Mary. In Luke 2,
25-36, we are given the account of Christ's presentation in the temple. It
tells us that there was a righteous and devout man who was awaiting the
consolation of Israel. When Simeon saw Jesus, he took Him into his arms and
said, "Now, Master, you may let your servant go in peace, according to your
word, for my eyes have seen your salvation, which you prepared in the sight
of all the peoples, a light for revelation to the Gentiles, and glory for
your people Israel." Let us, like Simeon, joyfully await the coming of the
Lord as our vigilant patience is strengthened by the Holy Scriptures.
"Lost in the Temple" The third sorrow of Mary. We are all familiar
with the story in Luke 2:41-52 of Christ lost in the temple. He was found
there, sitting in the midst of the teachers, listening to them and asking
them questions. All who heard him were astounded by his understanding and
his answers. In this painting, Mary has not quite seen her son, but is
straining to break through the crowd of teachers who have gathered around
him. As we travel through the composition, we start with the clustered group
of heads, and circle through the left arm of Christ, pausing a bit at the
black swath of His cloak, and ending at His right hand, which points out
some Scripture on the partial manuscript held by the central figure.
Hopefully, the partial understanding of God each one of us holds will be
made more full as we converse with and receive the Word made flesh.
"The Healing of St. Agatha" Quintianus, intent on gratifying both
his lust and avarice, used the emperor's edict against Christians to try to
gain Agatha and her fortune. Threatened with torture, she prayed to Jesus
for strength. She resisted all assaults against her virtue and never ceased
to implore Christ's protection. She was then tortured and severely wounded,
but resolute, was imprisoned without food or treatment. In a vision, St.
Peter comforted her, healed all her wounds, and filled her dungeon with a
heavenly light. Quintianus, seeing the miraculous cure of her wounds, had
her tortured to the point of death. With her last breath she prayed "Lord,
my Creator, you have ever protected me from the cradle; you have taken me
from the love of the world, and given me patience to suffer: receive now my
"Flight into Egypt" The second sorrow of Mary. After they
had left, suddenly the angel of the Lord appeared to Joseph in a dream and
said, "Get up, take the child and his mother with you, and escape into
Egypt, and stay there until I tell you, because Herod intends to search for
the child and do away with him." So Joseph got up and, taking the child and
his mother with him, left that night for Egypt, where he stayed until Herod
was dead. This was to fulfill what the Lord had spoken through the prophet:
I called my son out of Egypt.
"St. Jerome at Study" Most of the saints are remembered for some
outstanding virtue or devotion which they practiced, but Jerome is
remembered too frequently for his bad temper! It is true that he could use a
vitriolic pen, but his love for God and his Son Jesus Christ was
extraordinarily intense; anyone who taught error was an enemy of God and
truth, and St. Jerome went after him or her with his mighty and sometimes
sarcastic pen. He was, above all, a Scripture scholar, translating most of
the Old Testament from the Hebrew and writing commentaries which are still a
great source of inspiration. He was an avid student, a thorough scholar, a
prodigious letter-writer and a consultant to monk, bishop and pope. St.
Augustine said of him, "What Jerome is ignorant of, no mortal has ever
known." He traveled widely, and died in Bethlehem in the year 420.