Interview with Gayle Printz — Contemporary Art Curator Magazine

“Listen to the whispers of your imagination…" — GAYLE PRINTZ

My name is Gayle Printz, and I live in Atlanta. Over the years, I have practiced law, raised three children, and written children’s books. Although I have never taken a painting class, I have been surrounded by the arts all of my life. Growing up, I spent two months every summer at Interlochen Arts Academy in Michigan. I could usually be found playing the piano, but it was impossible not to be influenced by the creativity with which I was surrounded. As a result, I have always been inspired by beautiful art, beautiful music, and people who work hard to express and share their feelings through artistic endeavors.

Painting was something I always wanted to try. I simply had no time to devote myself to it. When COVID-19 regulations mandated we shelter-in-place, I suddenly found myself with an abundance of time. I wanted to channel my energy into something creative that I could undertake without socializing. So, in May of 2020, I turned to online shopping...this time, buying art supplies. Hoping to bring light back to a world darkened by the Pandemic, I picked up my first paintbrush to reflect upon, and interpret, the beauty that remained in a World interrupted.

Having achieved recognition worldwide, how do you balance maintaining a distinct artistic identity with the expectations that come with global fame?

My artistic identity is the result of instinctively expressing who I am at the moment through the unconventional use of color, three-dimensionality that allows new imagery to appear as you change the angle of your gaze, the deliberate, yet unrestrained, movement of brushstrokes, and a palpable sense of artistic freedom. My work is said to possess a “truly unmistakable style” with “great linguistic power.” My paintings actually will speak to you. Listen… as the whispers of your imagination invite you in to experience, what the critics say is, a “ground-breaking style unlike anything yet seen.”

Any of those glowing reviews could cause an artist to worry about their ability to live up to the expectations that come with the accolades. But I do not paint with expectations in mind—my own or anyone else’s. I simply want to create what does not yet exist. Regardless of the beauty created by others, I do not look to anyone else’s artwork when creating my own. I do not want my paintings to duplicate the work of another artist. It is infinitely more fascinating—for all of us—to explore the unfamiliar. So, I follow my heart, and the flow of the paint, into new territory—breaking what seem to be some firmly established artistic rules. I will try anything when painting—particularly if it has yet to be explored. No expectation or judgment is looming—only the subdued excitement of those of you who honor me by watching to see what I will do next. I thank you for that.

I have been referred to as everything from an “Artist Without Boundaries” to a “Rule Breaker.” Unlike formally trained artists, who tend to use specific themes, subject matters, or color-combinations across their bodies of work, I have created a modern art portfolio in which each painting differs in breadth, scale, and concept. Absence of training gives me the freedom to experiment and, by doing so, create a painting uniquely my own. I do not have to un-learn the style of others; I can be myself. My paintings freely cross artistic genres ranging from abstract, modernistic, geometric, expressionistic, and post-impressionistic to paintings reminiscent of the 19th Century Masters. Asked how I am able to accomplish this, I explain that experimentation is the cornerstone of my artistic experience. I also admit to being an unintentional artistic rule-breaker. Unintentional? Yes. Because, as an artist without training, I am simply unaware of the rules. And in a world without rules, the artistic possibilities are endless.

Can you share a memorable experience or encounter that significantly influenced your artistic journey and contributed to your growth as an artist?

I was actually discovered by the European Museum Curator, Ksenia Milicevic.

Two months after I began painting, I had an extremely memorable experience while entering my first international art competition. It happened by chance. On July 13, 2020, while searching for a way to archive my ever-growing art portfolio, I happened upon a call for artists entitled Art-Resilience. Assuming the competition was about being resilient during the pandemic, I thought, “Hey, I’m resilient. Look what I just painted!” All I had to do was email a few simple facts with two images of my artwork attached. Previous exhibitions were beautifully curated, and there was no entry fee unless my work was chosen. I saw no downside to applying.

I could only submit two paintings for consideration by the jury and had no idea which paintings to enter. So, I took a poll; I sent images of ten different paintings to eight of my most encouraging fans, told them I was entering a competition in which the theme was resilience, and asked them to rate the paintings in order of preference.

The competition deadline was July 15, 2020, and that is exactly when I tallied the votes and emailed FIRST and POND. A few hours later, I received a response from the extremely talented museum curator/artist/architect, and mentor extraordinaire, Ksenia Milicevic, requesting my professional artist’s image for their website. I asked if that meant one of my paintings was accepted. She said, "Yes, of course. Both. They're perfect." I was shocked and immediately sent her the only image of myself I could find on my phone.

Ms. Milicevic then asked for the link to my website. After admitting I did not have a website, I immediately posted images of my artwork on SmugMug and sent the link to Ms. Milicevic. She gently informed me that, although my artworks looked beautiful on SmugMug, I should set up a storefront website before the August 8th Exhibition because collectors would want to see my work. Collectors? I hope they don’t mind the permanent disclaimer on my website: “This website is under construction…” just in case something goes terribly wrong with it. Technology is not my strong point. And, although I am thrilled to have it, setting up my website was so time-consuming I did not enter my second competition until October—a month before one of my paintings became part of the permanent physical exhibit at Musée de Peinture de Saint-Frajou in France.

Ms. Milicevic then asked for a copy of my C.V. Naturally, I did not have one. She very gently told me to send her what I had, and she would work with it. I sent a "C.V." with my education (the University of Pennsylvania and Boston University School of Law), past jobs, the titles of books I have written, all of the Bar Associations to which I belonged (New York, New Jersey, and Georgia) and, realizing she needed something relating to my artistic background, I included Interlochen Arts Academy. As that only amounted to two pages, I added images of my artwork. Ms. Milicevic was very pragmatic; she removed everything except my education, Interlochen, and the titles of my books. Fortunately, she has much more to work with, now.

Ksenia Milicevic walked me through every step necessary to present my artwork to the world. But, the best part of our relationship, besides the relationship itself, is the way in which Ms. Milicevic inspires me to be myself. She always said I had a very distinctive style such that, at some point, when people saw my work, they would recognize it as mine. There is no greater compliment—no more liberating advice—I could have received. Because I cannot be anyone else, Ksenia Milicevic freed my spirit and gave me the confidence to become the painter I was meant to become. And she left me with a website which, I suspect, she checks on. We remain in close touch; for I will always respect and appreciate the woman who took me under her wing without expecting anything other than my future success in return.

My story would be incomplete if I failed to mention that The Art-Resilience Competition had absolutely nothing to do with being resilient during the pandemic. Rather, it was the coveted 2020 International Art-Resilience Competition held yearly in France, by The International Art-Resilience Movement founded by Ksenia Milicevic. The stated purpose in selecting artwork was in no way related to my personal resilience. It was "to present works characterizing the rigor in a search for artistic quality, creativity and technical mastery."

Wow! At the time I thought I must have been one of the only applicants, but I was mistaken. The competition was overwhelmed by applications, and I was one of only eight American painters whose work was selected for the Exhibition. Before selecting my work, the jury had no idea I first picked up a paintbrush two months before. Or that FIRST was literally my first painting—ever. The whole experience was akin to being on "The Voice" with artwork. All that mattered were my two paintings and how the jury felt upon seeing them. In a dream-world, this is the way a competition would be. But I have been told it is highly unusual for anyone, other than a firmly established artist, to be so warmly welcomed into the European Art Community. The fact that people of their artistic stature believe I have something to contribute to the art world provides all the inspiration I need to continue on this unexpected path.

Art has the power to inspire change and reflection. Are there social or environmental messages that you would like to incorporate into your work, and if so, how do you navigate the responsibility of being a globally recognized artist?

Art definitely has the power to inspire change and reflection but, in my case, change and reflection seem to have inspired art. Every experience and encounter shapes how we see the World. And how we see the World informs our sense of artistic expression. So, messages of unity and freedom embody the underlying essence of my artwork. Why? Because my paintings represent a spontaneous reaction to a life-changing pandemic shared by People around the world. Life informs art.

At the height of the pandemic there were thoughts and feelings I needed to express. So, in May of 2020, I picked up a paintbrush to explore artistic expression in an untraditional way. As a result, I found freedom from isolation. I did not begin painting to start a business. I did not even intend to show anyone my work. I painted because I wanted to express myself without being judged. By painting, I felt as if I had discovered a private way in which to articulate my feelings. The illusion of privacy enabled me to throw my heart on the canvas and engage in a deeply personal journey. My journey did not remain private for long. I did end up showing my work, and no one was more surprised than I when, two months after I began painting, two of my works were on Exhibit in Europe. The international response was overwhelming. I was offered gallery representation and solo exhibitions. But, with Covid ravaging the world, I declined every offer that was not online or in print.

My September 2020 newspaper interview epitomized how the world was changing. As the subject of a three-page article, I was instructed to remove all of the artwork we recently nailed to our newly painted walls and replace it with my own. The journalist then came to preview her subject (me) and her venue (the walls of our house). I opened the door, and there stood a woman with a plastic bag over her head. No joke. She wore one of the clear zipper bags in which linens are often sold. I was delighted her germs were contained, and it wasn't a terrible idea—mostly because the bag was unzipped so she could breathe. She returned a week later with a fashion photographer who I was hoping would bring clothes or a makeup artist. He brought neither; but he did photograph my artwork; and the newspaper article turned out so beautifully, I gave the journalist a package of face shields before her departure.As brick-and-mortar galleries started closing, I used their online platforms to show my work. I never anticipated the acclaim that followed; I thought I was merely doing my part to help keep the galleries afloat until they could re-open. I am also a bit camera shy, so I was attracted to what I perceived as the anonymity provided by the online platform. Needless to say, anonymity did not last long either. I was lucky.

I suppose one could say I have navigated the responsibility of being a globally recognized artist wearing a mask—both literally and figuratively. In addition to the camouflage provided by the world’s latest fashion statement—surgical masks—I could hide inside my artwork by working in the abstract. Creating abstract art, I can be myself; perfection is not mandatory. This fact alone lends freedom to the process.

As a master in your field, what advice do you have for aspiring artists who aspire to make a lasting impact in the art world?

Infuse inspiration into your artwork and use that energy to inspire others:

Know that expressing yourself artistically is a good thing,
Try things; create what you want to create, particularly if has not been done before, and,
When you stumble upon something you love, embrace it with all of your heart.

For you may uncover that you have the rare opportunity to enrich your own life and the lives of People around the globe.

The art market is ever evolving. How do you approach the business side of art, and what advice do you have for artists navigating the commercial aspects of the industry?

In other words, how does one make their artwork marketable?

There is a set of objective factors you can rely on to establish the worth and marketability of my work, and another set of subjective artistic factors that draw Investors and Collectors to my work. Objectively, as people are cautious relying on their own judgment when buying art (and jewelry), buyers need to be certain that my artworks are continuing to increase in value (they are) and will sell at a premium on the secondary market (they do). Accordingly, my international reputation as an important established artist is paramount.

As my last name is not Picasso, those buying and selling my artwork rely on several other objective factors:

(1) The overwhelming positive feedback from some of the most influential people in the Art World: Curators, Art Historians, Publishers, Art Critics (who, luckily, have not been at all critical), Art Dealers, Cultural Foundations, Galleries, Collectors, Investors, and Art lovers,

(2) The 57 paintings I have sold in the short time I have been showing my work,

(3) The price those paintings commanded which, I will only say, is rarely under the asking price and always more than I envisioned,

(4) The fact that every Collector purchased more than one painting because my work touched them so deeply, and

(5) The magnitude of my artistic accomplishments, including:

29 Illustrious International Prizes,

53 prominent International Art Publications featuring my work,

9 Publications in which my artwork is featured on the cover,

38 International Solo and Physical Exhibitions,

650 different International Gallery Exhibitions,

A staggering 1600 Juried International Art Awards,

The fact that every painting for sale at my Online Art Gallery is an International Award Winner, and, perhaps most notably,

The fact my painting COLORS is on permanent physical exhibit in France at Le Musée de Peinture de Saint-Frajou.

Galleries also rely on subjective artistic factors that motivate collectors to buy my work. My paintings are characterized by the bold use of unique color combinations, three-dimensionality, distinct brushwork, texture, flow, and movement. Engaging a novel painting technique, partly turning, partly mixing, and completely making a mess, I use a paintbrush to blend a unique sense of beauty with universal significance. Drawing you into the painting, I encourage you to use your imagination as the lens through which to find the personal and universal meaning that connects you to each work. It is said that my “ground-breaking three-dimensional works” have a “uniquely recognizable style” that creates “naturalistic abstractions” which “deviate from anything we have yet to see in the art world.” As such, it is said I succeed in my goal to provide viewers the freedom to assign context to, and find meaning in, the intangible beauty of art.

I never imagined that sales and international recognition would be part of my artistic experience. I am amazed by the overwhelmingly positive responses to my paintings. I am both humbled and thrilled that my work is considered an important addition to the Art World. There is no greater compliment.

Abstract art often involves a deep connection between the artist and the work. Can you share any personal stories or emotions that have influenced your creations?

My painting adventure began with my aptly named premier creation, FIRST. My intention was to use color, depth, and varied brushstrokes just to see what would happen. A lot happened. I found that creating something meaningful is an intense process in which time ceases to exist. I cannot tell you how often I begin painting what I hope might become a masterpiece and, when I next look at the clock, it is six am. Though this is not particularly good for my circadian rhythm, it does help keep paint off of my cellphone. Because I lose track of time when I paint, I could not guess how long it took before I looked into FIRST and realized it was as though people were coming to visit from inside the canvas. I no longer felt isolated after that. Figuratively speaking, there was always someone around to keep me company.

FIRST was critically acclaimed before it was dry. In fact, it has been said that FIRST is one of my most mature works. What no one knows is that FIRST was created in our kitchen on a child’s travel easel I happened to find during my Covid-Cleaning Phase. I employed what can only be referred to as novel painting techniques—which I still do because I know of no others— but I made such a mess, I was evicted from the kitchen, even after cleaning the ceiling. I did get paint all over everything—including my Golden Retriever who sits faithfully under my easel and never complains when I drip paint on her nose.

IN THE DARK is not merely entitled IN THE DARK, it was actually painted in the dark. In April of 2020, I created a “Man Cave” for my husband. A space all his own —with the only television in the house that has the football channel. It also has a ping pong table. I had good intentions.

Following my eviction from the kitchen, I bought a real easel (two actually, one lives outside) and painted in the open area next to the Man Cave; the ping pong table held most of my recently acquired art supplies. By the time football season began, I had taken over everything except the Man Cave sofa and television. Having already invaded the boundaries of the Man Cave, I did not want to turn the lights on during the game my husband was watching near my easel. So, I painted in the dark—or an area far too dark to see what I was doing. It was the least I could do for the man who has taken every single image of my paintings.

When I turned on the lights, IN THE DARK was like receiving a gift. It has an impressionistic feel with an Abstract twist that will captivate you with its color, texture, and depth. I studied IN THE DARK for days to determine where it should be signed. When I realized it is filled with meaning from every direction, I signed IN THE DARK on an angle to enable its owner to choose the direction in which it should be displayed. There are countless paintings I have signed in a corner on an angle so, when you think that you may have discovered all that the painting has to say, you can turn it and begin all over again. I am not afraid to enter uncharted territory. And I suppose I am not afraid of the dark.

NOIR is a beautiful study in reflection. It is also a wonderful friend of the dark. Oddly, the dark enhances the painting: NOIR not only glows in the dark but, in the dark, you can see your reflection. I have to say it was a little disconcerting when I first discovered this. But, after seeing myself in the painting, it took me no time to recover and realize that it is an incredible phenomenon.

And then, there was light: One day I was outside painting the 60 by 48-inch IRIDESCENCE. I was preparing the under-layer of the painting roughly fifteen feet from where my family was sitting. As I began to move the canvas, my family shrieked and told me not to touch it. I did not see what the fuss was about; because the painting is so large, I was just trying not to drop it. But what everyone else saw, outside in the sunlight, sent them into a state of awe. IRIDESCENCE is literally iridescent. As I was moving the painting inside, my family was watching it change colors. Completely. Over and over. It is impossible to capture this in a photograph or even on video; you must either trust me or experience it in person. IRIDESCENCE is an amazing piece, and I made sure it was finished with several coats of UV-light protection, because it should really be on a wall touched by daylight. If I had a home on the beach, IRIDESCENCE would be there. It is composed of light, relaxing sandy colors. I am not quite sure how I did it, but I love the result. So too does renowned curator, Beatrice Cordaro, who put IRIDESCENCE on the cover of Contemporary Art Explore I (Palermo, Italy).

BRUSH is one of my rare seascapes—rarer still because BRUSH II and BRUSH III were scooped up by Collectors. I just cannot bring myself to let go of this one. BRUSH has been compared to the works of nineteenth century painters. The impressionistic effects within have been said to suggest a certain eeriness to the mood. So, I am frequently asked what I was thinking when I created BRUSH. The truth is that, usually, I am not thinking about anything except what is coming to the forefront as I paint. I paint with intent, but the painting itself somehow takes over. It has a mind of its own. So, I do not need to explain what I was thinking the intent behind a painting, because what I think is less important than what it means to you.

I have always felt uncomfortable telling others what to think—even my children. I began painting to inject color and inspiration into my world and the world of others who need to bring beauty back into their lives. BRUSH was just one example of what appeared when I tried to do that. In the case of BRUSH, I will say that I deeply missed seeing the ocean. But, interestingly enough, even though BRUSH is a seascape, the ocean is not visible. Perhaps this created the sense of eeriness suggested. I can only guess at this interpretation because I see BRUSH as completely relaxing. This is why I will not reveal the story a painting is meant to suggest. The story is yours to tell. And, the truth is, a collector’s knowledge of art makes their interpretation of the story much more interesting.

BLUE DOG and PURPLE PLUNGE are all about color on highly textured surfaces. With BLUE DOG, once the abstract figure appeared, I pulled my fingers through the canvas to uncover a beautiful mixture of color within the layers of the painting. BLUE DOG is a statement piece. When I show it, collectors have to pick their jaws up from the ground; all they can say is that BLUE DOG is magnificent. PURPLE PLUNGE is about creating a beautifully colored under painting and controlling drips of high flow acrylics to create figures that, to me appeared to be plunging into a purple abyss. I love the color combinations on both pieces. But, with BLUE DOG, I also found that the larger canvas lends itself to greater creative freedom. And creative freedom is what I am all about.

It is often said there is more to my work than meets the eye. Look closely and you will find the magic for which I am famous: my paintings somehow change depending upon the angle of your gaze. For, as with life, the meaning in my work depends upon the way you look at it.

AVERY exemplifies this unintentional phenomenon. AVERY is magical. It has a very light Impressionistic background seemingly covered by an abstract formation. If you look at AVERY straight on, from a distance you can see the profile of a very young girl looking left with her ponytail on your right. As you move toward the painting, the profile disappears and the face of a woman emerges straight on. The grid, which can be so prominent in photographs, is absorbed into the painting. My husband was the one to point this out after I had already named the painting AVERY —the name of a wonderful little girl who blessed our lives the night both Averys were born. As I said, AVERY is magical. She has also won over thirty international awards.

I am often asked why, out of all of the things I could have focused on, I chose to devote myself to painting. The arts were always an important part of my life. But why did I choose to paint? Did I have an epiphany? No, I did not. But I have never shied away from a challenge, and there may have been a conversation that challenged me to paint: In April of 2020, my sister and I were discussing our childhood museum experiences. I always preferred the Metropolitan to Modern Art Museums because, when studying an abstract painting, I often felt, “I could do that.” My sister apparently felt the same way. She recounted a conversation she had years earlier with the curator of the Guggenheim Museum in New York. Standing in front of a very famous abstract painting, the Curator asked what she thought. My sister replied, “I could do that.” To which the Curator aptly responded, “But, you didn’t. Did you?!”

The Curator was correct. My sister had not painted anything. And, neither had I. As a result, I had no way of knowing if I could create a meaningful painting. There was one certainty: I would never know what I could accomplish until I tried. So, I tried. The pandemic gave me time. The curator—I never met—gave me motivation. And, as it turns out, not only can I paint (who knew?), but painting has changed my life. My work is unlike that of anyone else, but that is exactly what creates the intrigue.

Travel often plays a role in shaping an artist's perspective. How have different cultures and environments influenced your work, and do you have a favorite place or experience that left a lasting imprint on your art?

Travel shapes the perspective of every traveler. As an Artist borne of COVID Isolation, I have been painting during a period in which travel was out of the question. But I do love to travel and was fortunate enough to visit my seventh continent in the nick of time: December of 2019, right before the onset of a pandemic heard around the world, and five months before I began painting. By February of 2020, I prepared for the worst and began to interact less and less in public. I used the time to work on projects I had put off at home. I finished several children’s books and tweaked a 300-page book I had written for adults. By March our Governor spoke of locking down all but essential businesses and, in April, he did just that. With the death toll skyrocketing, and much of the world trapped in an abyss filled with fear, my biggest adventure was cleaning out file cabinets, closets, and drawers… Until I started painting, and my life changed.

Only recently did I begin traveling again. Trying to make up for lost time, this year I went to The Arctic to see polar bears and beluga whales, Spain to be with my best friend as her son got married, Puerto Rico to celebrate our anniversary, and Florida to look for sand dollars. Rather than influencing my work, travel took me away from it. And although it will not keep me from traveling, when I do go away, I miss painting.

On the other hand, without me, my paintings have traveled the world, visited cyberspace, and toured the World Wide Web: (1) In physical exhibitions: Miami Art Week, ArtExpo New York, Art San Diego, and the Tokyo Tower Art Fair; (2) Permanent and year-long solo exhibitions: The MoCA (Los Angeles, California), Circle Foundation For The Arts (Lyon, France), Contemporary Art Curator Magazine (England and Wales), Artavita (Santa Barbara, California)and Contemporary Art Awards (Queensland, Australia); (3) Collecting countless International Art Prizes: Top Contemporary Artists To Watch in 2024 (Contemporary Art Curator Magazine, England and Wales), Harmony For Humanity -The Global Consciousness Art Prize (England and Wales), The International Voices of Tomorrow Art Prize (Barcelona, Spain), The Faces of Peace Art Prize (U.K.), The International Art For Peace Prize (U.K. and Barcelona, Spain), The 2023 Exhibizone Grand Prize (Vancouver, B.C.), The Fifth International Prize Leonardo da Vinci (Milan, Italy), and The Gallerium International Art Prize (Vancouver, B.C.); and, (4) Accepting distinguished International Awards: The Biafarin Award (Toronto, Canada), The Art Diamond Museum Artist Award (Rome, Italy), and The Art Collector’s Choice Award (New York, NY), to name a few. In the process I learned that my paintings are not quite as attached to me as I am to them; some did not even bother to return home.

Artists often leave a legacy beyond their work. What impact do you hope your art will have on future generations, and how do you see your artistic legacy evolving over time?

Art is a universal language. It transcends boundaries. It allows us to communicate, find meaning and experience the world…together. It is my hope that, by translating the colors of my world into the universal language of art, I can help promote unity and inspire all People to celebrate the beauty in life…even in the midst of adversity.

I believe there is unrealized talent inside of everyone. When we are able to tap into that talent, we can share part of ourselves with the world and contribute in a way we never thought possible. We can use the time we have to bring back the beauty into a world we once knew. For if there is a silver lining in the pandemic, it belongs to those who used this time to grow by discovering untapped abilities.

To create something lasting I must remain true to myself. From the beginning, art experts advised me to keep doing exactly what I am doing. So, I have. It creates a real sense of freedom to find out what I can accomplish by simply breaking the rules. I am extremely fortunate the Art World feels I have a contribution to make. To be so warmly welcomed into the international art community, particularly after crossing established artistic boundaries, makes me realize that the Art World is exactly where I belong.

Abstract art can be open to various interpretations. Do you have a specific message or theme you aim to convey through your work, or do you prefer leaving it open-ended for viewers to interpret?

There is profound universal and personal meaning in each of my paintings. But because I believe the importance of any work of art is based upon the emotion it evokes, I will neither define that meaning nor intrude upon your journey to find what makes each painting significant to you. There are no answers I am trying to convey. Rather, by encouraging freedom of thought, I hope to give you uninterrupted freedom to feel and experience the world in unanticipated ways. It is liberating to be allowed to think for yourself in an arena in which you can never be wrong. For, with artwork, the interpretation of the viewer trumps that of the artist.

In each of my works, the story is already there. I am merely allowing it to be told. My contribution is to create a painting that entices you to wonder and think about what that story might be. Therefore, in trying to create a synchronicity between that which is objectively beautiful and reflects universality, I leave it to you to draw on your emotional memories and imagination to assign context.

It can be difficult to get past the distractions inherent in abstract art because the meaning is not as defined for the viewer as it might be in the work of classic painters. Though my work is not purely abstract, it does create a non-literal view of the world. It allows me to explore freedom of expression in my own way. When the paint dries, it is that sense of freedom I hope to pass on to you: I want the freedom that I feel—the freedom to develop, and safely express, yourself —to be transferred to the viewer who, instead of trying to figure out what I was thinking when I created the piece, must be willing to consider what makes that piece meaningful to them. I may not tell you the story a painting is meant to suggest, but this is only because that story is yours to tell. Interpreting art is a very personal thing but, in truth, the only limitation is your imagination.

It may be challenging to explore your inner feelings about a work of art. But, to me, that is what art is all about. You do not need to be influenced by anything other than what is literally in front of you. The only limitations are your imagination and willingness to explore what is inside of you. When you embrace being in an unfamiliar world, there is a richness and tranquility that can fill your soul. And I hope my artwork fills yours.

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