Colour + Surface, The Art of Decorative Painting

Olive & Cocoa

2012-01-26T14:13:00.000-08:00

xoxo

Je t'aime

I've been doing illustrations for the Olive & Cocoa catalog over the past six months. If you're not familiar with them, you should be! They are a catalog company based in Utah and they have great luxury gift crates, fun things for the home, baby gifts, and the most gorgeous flower arrangements. For the illustrations I draw these two "girls" - Olive is the redhead and Cocoa's hair is black - and they are usually doing something kind of madcap and wearing something fabulous - cute shoes at the very least. I draw the illustrations on a Wacom tablet using photoshop. Here are some of my covers that came out over the holidays:

Oh Joy

O Tannenbaum - my first cover!

Christmas Story

Oprah's favorite!

2011-11-09T12:05:00.001-08:00

Yolka made it on the O list. Congratulations Marian! Yolka Chocolates was one of the most intensive projects I worked on this year, so I feel proud too.

See what I mean about orangey-red being the "it" color of the season.

Gourmet food page of Oprah's favorite things. It would be cool if she said," Oooh, these are pretty," and then unwrapped one and ate it. Let's pretend she has to sample everything personally.

Bonus spread on the table of contents. "From Russia with Love", that was their clever tag line.

photo: Skylar Nielsen
See the whole design process for creating Yolka Chocolates in my post below.

Yolka Launch Party

2011-11-09T11:25:00.000-08:00

photo: Skylar Nielsen

With Marian Rivkind at the Yolka launch party in SLC. Marian has worked so hard - she was born to be a successful entrepreneur.

Thanks to Marian for the flattering toast and tiptop event!

photo: Skylar Nielsen

Design process: a box of chocolates

2011-11-08T10:35:00.001-08:00

Yolka Chocolates

photos: Skylar Nielsen

Marian Rivkind shared with me her brilliant idea to create chocolate ornaments inspired by her Russian heritage. She was determined and passionate about making her product a reality, but needed creative input, branding, and concept design. We had a series of meetings and established that Marian is a modern gal, and so we wanted the product to reflect her design preferences. The chocolates had to be sleek and fresh-looking to the market but still carry the vestigial qualities of old world holiday traditions. She had already chosen the name Yolka, which is Russian for "holiday tree", and without question we knew it was the perfect name for the product.

The process went like this:

I took inspiration from the magical turrets we always associate with Russia.

Also, the exotic Ballet Russes:

And I always take inspiration from folk art - whenever I am trying to capture the authentic feel of a decorative tradition:

Exploring the font for the logo:

The logo after refinement:

Early sketches to envision the foil pattern for the chocolate ornaments:

The final drawings I did for the foil patterns:

Final leaf pattern for the chocolate foil, after separating it in photoshop and mocking up the black and metallic:

And the flower foil:

Brainstorming sketches to envision the box concept:

A more developed box concept sketch. Here you see how I used the Russian turret-shape:

An early mock up with the logo.

We decided early on to do an orangey-red for the box exterior. I was fresh from a conference with the International Association of Color Consultants, where we thought a lot about color marketing. I felt that an orangey-red would convey the social/sharing, celebratory aspect of the holiday season. We used black, gold, and silver to make it exotic, rich looking, and exclusive. It took some trouble-shooting to get the right hue. I ended up glazing the pre-production box with paint to get the right color. By the way, orangey-red is turning out to be the it color of the season.

Final product, finally!!! Actually, this process only took about three months time.

Yolka chocolates.

Whimsical bunk beds

2011-07-13T12:58:00.002-07:00

These imaginative bunk beds were created to express a specific place and memory for the client's grandchildren. The cabinet door closes to create a secret surprise.

For the top bunk, I painted the whimsical Grandma's Attic sign.

For the middle bunk, the family's cabin was the theme.

In the bottom bunk, we used the logo from the family's yacht to create a nautical theme.

Each level is full of family photos and wonderful details.

Interior Design: Denton House Interiors

Talisker Map Mural

2011-07-13T12:58:00.001-07:00

Before. Wood plank wall at the Talisker real estate gallery, where Denton House Design commissioned us to paint a vernacular-style mural of the Canyons resort and properties.

Even to get as far as this sketch was so much work because we were creating the map from scratch. Trent Call did all the brain gymnastics, piecing everything together. I could not have done this without Trent - my brain does not think in 3-D maps.

My approved sketch on an 11" by 17" piece of paper. The wall space we were covering was 5' by 15' long.

After. Completed mural painted in acrylic on barnwood, distressed and antiqued, coated with Golden UVLS matte varnish to protect it from light fading.

It really made the space come alive - they said it went beyond their expectations, and people love to place themselves on a quirky map.

Celadon green plaster

2011-07-12T16:59:00.001-07:00

This is shimmer stone "plaster" that I custom mixed to pale celadon green. It was applied over a deeper shade of the same hue, base-coat. There are a least four thinly troweled layers.

Just this much color and added texture makes all the difference to enhance the arched niche and set-off the cabinetry in this dining area.

Interior Design: Denton House Interiors

Rose painted dresser

2011-07-12T13:04:00.000-07:00

Before: mass produced dresser that I was commissioned to paint with roses.

After painting the body blue-grey and doing a wood-grained finish on the top, base, and panels.

Detail of the top with the wood-grained finish sample the designer wanted matched.

Laying out my sketches for the rose motif. I was given instructions to paint the "spiky" kind of roses and not make them too feminine. By the way, roses are hard to paint! Here you see the caramel base color for the wood grained finish.

After. Finished piece ready for pick-up.

Holding the swatches I was given to co-ordinate with the room.
Designer: Denton House Interiors

4th of July hand-painted banners

2011-07-01T14:12:00.000-07:00

We painted these banners for a 4th of July event at a Golf Course. It was fun to combine clip-art and sign painting fonts to create an old-timey festival look.

Designer: Denton House Interiors

Ask Tessa: Mermaid Shimmer

2011-06-29T12:20:00.000-07:00

Hello!
The projects pictured on your website are stunning! I am seeking advice on a bathroom. My thirteen year old daughter would like her bathroom to be the color of "mermaid scales". I have looked at many different products and techniques and am unsure which will give the desired effect. She does not simply want a blue-green color, but the blue and green to show through independently in some areas, with an all over shimmering appearance. I have worked with glazes and metallic paints, but am contemplating a plaster for this project. I have been looking at Modern Masters Shimmerstone in particular, but since I have never used it before, I am not sure this will give her the look she wants.
I would appreciate any advice!!
Thank you!
Pam Comberg

Hi Pam,
A bathroom inspired by mermaid scales: how lovely! The best way I can think of to create the effect of mother of pearl or irridecent scales is to use pearl luster chroma blue k50500 and pearl luster chroma green k50621 pigments from Kremer Pigments. These pigments come is powder form and can be added to glazes, paints, and waxes. From one angle they are pearly white and from another angle intense peacock blues and greens emerge.

We used pearl luster chroma blue in this master bath. It is hard to tell from the photo but on the last layer of this finish we used a water-based glaze colored with chroma blue pigment. It was stunning to see the color shift throughout the space.

If you want to use Modern Masters Shimmerstone, which is a very versatile and user friendly product, you could tint the product directly in two batches, with chroma blue and green, and apply it in alternating layers over a pewter-grey base color. You will need more pigment if tinting the shimmer stone directly, as opposed to tinting a glaze and applying it over the top of layered shimmerstone, which is what I did on the oval ceiling of this entry, below. Layers of shimmerstone were finished off with an almost sheer champagne metallic glaze, applied thinly with a trowel.

Another option is to use multiple blue and green paint colors, either applied in an organic pattern or a geometric one and then use a standard pearlescent glaze over the top, letting the base colors shift the pearlescent glaze to create iridescence. The subtle checkerboard effect in this dining room was created with two tones of a honeydew color, and two tones of opaque metallic - one warm and one cold.

Since you have some decorative painting experience, you can probably image using a version of this technique with a scale patterned stencil to great effect! I hope you have a gorgeous result.

Tessa

Samples, samples, samples

2011-06-28T16:18:00.001-07:00

As any decorative painter knows, a lot of time is spent in the studio making samples of finishes to show prospective clients. Usually this work time is uncompensated and the finishes are of a speculative nature. Sometimes designers just want to explore different options or impress their clients! I have spent weeks at a time making samples for jobs that didn't come to fruition - which is of course frustrating - but I also enjoy the experimentation and alchemy of the process. At times I put on my smock and become a mad scientist.

Of these samples, two of them were approved and became the basis for paid jobs.

Norwegian Pines

2011-06-13T13:19:00.000-07:00

The design sketch for a painted wainscot in a Norwegian-style mountain home.
As you may have guessed, I took inspiration from folk art of that region.

The girl's room with its festive red and white fabrics.
The clients had specifically asked for hearts to be included in the motif.

A painted forest of pines on either side of the room's entry.

Interior Design: Denton House Interiors

Before & After: restaurant interior

2011-06-01T11:04:00.000-07:00

Before: view of what we started with. The previous establishment had gone out of business - no wonder! An enormous wall without any details, tiny, ineffective mis-matched lights, an overwhelming orange wall color with nothing to balance it, and random meaningless pictures - all of it visual clutter with no sense of place or comfort.

After: I re-painted with a warm burlap color and divided the wall up with painted black panels. These were sized to span the length of the new extra-long banquette. The same pendant lights were used, but I topped them with big drum shades with black ribbon detailing. New table tops were made by Calls Design, with laminate tops and finished ply-wood edges.

The awesome paintings are by Trent Call. Interior Design: Tessa Lindsey

Painted ornament on cracked plaster panels

2011-06-01T08:55:00.000-07:00

The painted motifs for these panels came from a Victorian folio of historic printers ornaments. The cracked plaster surface was made by mixing joint compound with PVA glue (concrete bonder also works) to fortify it and make it flexible. The mixture was troweled onto a piece of muslin stapled to a table and allowed to dry for a few days. Then the sheet was pulled, rolled, and stretched over the edge of the table to create cracks in all directions. Finally the muslin (lighter weight canvas may also be used) was stretched and stapled over stretcher bars.

The pair of panels were hung on either side of a large window in the clients dining room. Interior Design: Lynn Stoner

Finishes for mantles and hearths

2010-11-15T17:17:00.000-08:00

I'm freezing in my studio and so I decided to gather up a few images of the mantles and hearths we've worked on over the years.

Polished white plaster, weathered wood, and carrara marble.

The loft at Talisker Cafe, Park City. Interior Design: Denton House Interiors

Steel plates and strapping and an I-beam for a mantle at the Alpine House. Interior Design: Denton House Interiors

Steel plates coated with aluminum metallic and then oxidized with barium sulfide to create an organic patina. Interior Design: Marilyn Lewis Interior Design

Composite stone mantle treated with a glaze to bring out the carving at the Casa Nova. Interior Design: Denton House Interiors

Composite stone mantle treated with a glaze to warm the color also at the Casa Nova.

Aged gesso and metallic finish to dress up a wooden mantle.

A Tudor-style hearth with inset plaster against Chinese blue walls. Interior Design: Lynn Stoner

Detail of distressed carved alder.

Mediterranean-style painting on a waxed plaster hearth. Interior Design: Denton House Interiors

French-style painting on a plastered kitchen hearth. Interior Design: Lynn Stoner

Alpine wildflowers painted on a distressed wooden mantle. Interior Design: Denton House Interiors

Faux siena marble detail. This is a classic marbling style taught at The Finishing School in New York.

Faux marble in taupey grey with white veining, on a composite mantle. Interior Design: Lynn Stoner

Another style of faux marble.

Copper blue powder room

2010-11-04T12:45:00.000-07:00

This wall finish was inspired by copper blue pigments and verdigris.

We started with a textured wall painted a warm aqua-blue. The base-coat was painted with a darker grey-blue glaze that was lifted off with newsprint while wet. Then we added a layer of muted gold glaze using crumpled newsprint.

The final layer was an allover brushed-on layer of soft blue glaze with a little joint compound added to it. The joint-compound makes a semi-transparent glaze with a little grit to it that pushes back the previous layers and dries with a veiled "plastery" quality. Interior Design: Lynn Stoner

Talisker on Main, Park City

2010-10-21T23:41:00.000-07:00

Talisker on Main in Park City. This historic building was renovated last winter. We did on an array of projects for them in collaboration with Denton House Interiors including painting "Fire Sprinkler Riser Room" on this exterior door, as specified.

Dining room showing the photo wall and the gilded mullions and liners we did for the frames.

The cafe also serves as a real estate gallery and wine club and the photos are of Talisker properties and lifestyles. The frames were built by A Gallery.

The frame liners and mullions were gilded with dutch metal using aqua-size. They were burnished and distressed with fine steel wool. The leaf was patinated with flicks of cupric nitrate and barium sulfide. Then they were sealed with shellac, burnished again, and finally rub with a little alkyd antiquing glaze for the finished look.

Here you see the painted wood floors by Signature Floors. I consulted with them to develop the sample finishes and different techniques to distress the paint.

A more complex painted design in the corridor between dining kitchen and restrooms.

The distressing was done with denatured alcohol and water-based stripper on Benjamin Moore latex paint. Then they were sealed with a water-based, matte floor sealer. It takes a lot of sensitivity and skill to distress surfaces!

The wine club room, where we did a rustic plaster finish on the lunette archways.

Detail of the finish which started with a sandy base-coat, then several shades of Venetian plaster were applied impasto-style, and then troweled out to a semi-rough surface, finished with burnishing wax.

I also painted the Talisker "T" logo on the little red step stools (on either side of the banquette), made by Old World Antique Reproductions.)

Crushed-silk finish in master bedroom

2010-10-17T16:11:00.000-07:00

To create a crushed-silk faux finish in this master bedroom, we started with a grey-green metallic base, that not only co-ordinated with the hues of the fabrics in the room, but created depth when combined with its red compliment.

We then used sheets of .5 mil plastic pressed into wet brick-red colored glaze (applied over the top of the metallic color) to create texture. The final step was a warm toning glaze--applied with a brush-- to bring it all together and soften the textural effect. Interior design: Lynn Stoner

Cartouche painted cabinet

2010-10-17T08:45:00.000-07:00

I painted these unusual cartouche motifs on this cabinet, made by Old World Antique Reproductions for designer, Paula Berg. It functions as a pop-up flat screen TV cabinet.

This piece was not easy to paint! The original design concept was of a different scale and didn't make much sense visually. Also, they wanted the painting to have a lot of chiaroscuro, and my work was too soft after the first glazing pushed it back, and so I had to give it another layer of depth to get a more sculptural effect. But I really love the finished piece below, which shows how the pink color transitioned to yellow after the final glazing.

The cabinet (placed at the window ) in the room it was made for. Interior Design by Paula Berg.

Tuscan-style show house

2010-10-04T13:39:00.000-07:00

Metallic venetian plaster on the master bath ceiling.

Burnished and waxed plaster walls in earthy taupe also in the master bath.

A view into the wine cellar where we applied a more rustic-style plaster on the walls.

The kitchen hearth with mediterranean-style hand-painted upper and lower borders on polished plaster.

Detail of our waxed plaster and lovely tile and stone mosaic.

Detail of the distressed hand-painting in the Kitchen inspired by Greek and Roman motifs.

More rustic plaster on the lower-level archways.

The guest bedroom where we did a whimsical "curly-q" border on the ceiling in bronze metallic.

An unexpected ceiling detail.

I loved this carved armoire.

The hand-painted detail (in gold) I added to the mirror frame in the powder room as a compliment to the mosaic.

Stone and plaster hearth in the master bedroom.

Detail of the hearth, plastered and hand-painted with typical mediterranean ornament in traditional Italian colors. Interior Design: Denton House Interiors

Ask Tessa: Damask Powder Room

2010-09-29T19:22:00.000-07:00

Hello,
I just came across your blog and really the like the images of the ‘Damask Stencilled Powder Room’ - can you tell me more about the finish and how it was created. I would love to try and source a small sample of stencilled plaster.
Kindest Regards,

Sarah Fowkes
Interior Designer

Hi Sarah,
Thank you for the query. The plaster finish in this powder room is not a traditional masonry plaster, but a modern veneer plaster made to go directly over taped dry-wall (gyp board) or previously painted walls. In this case the entire home - walls and ceilings - were coated in a smooth taupe veneer plaster comparable to those offered by Texstone. Some of these products come ready-mixed in wet form for spreading on the wall in multiple layers, and others are dry powders to be mixed with water in quick setting batches. They are formulated with various types of aggragate fillers and pigments to produce different textural and visual effects on the wall. In this home, the veneer plaster was done by a different company before we started and then we were hired to do the decorative painting in the powder room over the cured plaster.

I remember that we took some inspiration from the Moliere Screen by Neirmann Weeks. I made a sample with the trompe l'oeil wainscot pattern in pale green, but the designer and client decided no to do that part. The damask stencil pattern is one that I purchased years ago, and now I'm not sure where it came from. So if anyone recognizes it, please let me know, since I could use a new one! But there are wonderful damask stencils available from the Stencil Library, Jan Dressler, and Modello Design.

The egg and dart border stencil is one that I made custom for the job. We used acrylic colors thinned with glaze applied sparingly with a natural sponge to get a faded and aged look. We also used an antiquing glaze to shade the corners for a softly aged effect, and probably some denatured alcohol to further remove parts of the pattern. As a final touch, we used metallic paint here and there to bring out parts of the pattern.

As for a sample, I may have one kicking around the studio if you are interested in seeing it. I hope that helps to flesh out the process for creating this finish. We would be happy to recreate this look for you, or something similar.

Tessa

French and Italian-style hand-painting on muslin panels

2010-09-15T09:52:00.000-07:00

Roman-style pompeii ornament. To create the textural effect of a polished Pompeiian fresco, I textured the muslin with a warm-black tinted Venetian plaster, waxed with minwax. The painting is carried out in acrylic over the wax, and then easily distressed due to the wax resist. The final piece was waxed again and burnished to a soft sheen.

Birds and urns adapted from Raphael's frescoes in the Vatican, early 16th century. To create the cracked panel, I skim-coated muslin with a layer of joint-compound mixed with concrete glue (PVA emulsion). After it dried, I pulled it against the edge of a table to make it crack, turning it in all directions. The painting is carried out in acrylic paint with lime-wash glazes.

Baroque shell ornament adapted from a panel in a Piedmont church.

Medeival ornament adapted from tiles. The edges and parts of the interior are gilded.

Original concept sketch for my client and designer. Interior Design: Lynn Stoner

Ask Tessa: Parchment painted floor

2010-09-13T12:05:00.000-07:00

Anonymous said:
Great work and design. Have you ever done a parchment glazed floor? I live in Los Angeles and saw one years ago it looked gorgeous. It was in large square pieces.

No, I have never done a parchment glazed floor, but I am a huge fan of painted floors and geometric patterns, so I can imagine how great it looked-perhaps similar to the wall finish below, only in larger squares? Of course many painted finishes are appropriate for floors as long as the issue of traffic and wear is addressed. The existing floor material must be aggressively prepped and primed to assure paint adhesion, but there are many durable and user-friendly floor finishes available now to protect paint-work.

Tessa

Glazed paper entry.

Parchment finish in a mountain home.

Iridescent Master Bath

2010-09-13T11:12:00.000-07:00

Here is some more inspiration for Jean's project. This iridescent finish started out with builder textured walls base-coated with a taupe latex paint color.

We first applied pale gold metallic that was dry-brushed onto crumpled newspaper and pressed onto the wall to create the warm flecked undertones. After that, the walls were given a sponged-on layer of pale silver glaze and then a layer of iridescent metallic glaze made with Kremer Pigments Pearl Luster Chroma Blue.

All this complex layering of metallics, as well as the unique curves and natural light in this master bath created a chameleon-like shimmer. Interior Design: Marilyn Lewis

Ask Tessa

2010-09-10T10:54:00.001-07:00

Tessa - your work is exquisite! I found your site online and am totally captivated by the designs and subtle colors. I am going to "attempt" to faux paint a bathroom in a metallic pewter finish and apply a raised stencil design - either a swirl effect or a simple fleur di lis. Any advice for a complete novice? Thanks!
Jean

Hi Jean,
I love your idea for the bathroom! As you have probably noticed, I incorporate a lot of metallics into my finishes. I especially like to combine matte paints and earthy textures with metallics to mimic nature-like the inside and outside of an oyster shell. I would think of the finish you want to attempt in three stages: base-coat, pewter metallic, raised stencil application. You can get an infinite amount of variety by varying each stage only slightly. I always say that it's like cooking, and it's important to do a sample to refine the process before you start on the walls. If I were doing this finish, I would base-coat the walls a medium valued gray, such as Sherwin Williams 7066 Gray Matters, in satin. Then I would mix the pewter metallic paint with latex glaze (I use Modern Masters, Behr, or Benjamin Moore) and a little water to a workable consistency. How you apply the pewter glaze will create the overall textural look and feel of the finish.

For a mottled look try using a large sea sponge loaded with pewter glaze and then tapped off first on newsprint. Use your whole palm to hold it flush to the surface and working in small sections "walk" the glaze back and forth to get even coverage. Use a small brush to pounce in the corners and edges.

Metallic glazes applied with sponges.

An easier technique is the strie-or dragged glaze. Use a large 4" brush ( I like the cheap "chip" brushed with the bare wood handles and blond hairs) dipped in glazed, dry-brushed onto newsprint and then dragged vertically onto the wall.

Strie finish. Gold metallic glaze dragged over golden-green base color.

Or you could also try a product like Shimmer Stone, which is an acrylic "plaster" with metallic pigment in it which is applied using a trowel or bondo knife.
Shimmer stone finish with additional bronze metallic layers.

As for the raised stencil, there are products out there designed for that purpose, or you can make your own with the gray base-coat color thickened with joint compound or spackle. Use a flexible trowel to skim the mix over the stencil. After the raised motifs are dry, use the stencil and add some pewter to each one.

Raised stencil motif and Shimmer Stone finish.

If you want a staggered pattern, measure out the pattern placement using a level and tic-marks on pieces of blue tape. Center the stencil then remove the tape. I like the idea of a classic fluer di lis in a staggered pattern, but a swirl is more contemporary and could be "scattered" here and there.

"Scattered" bontanical motif.

Best of luck Jean!
Tessa

Opulent powder room

2010-09-07T11:26:00.000-07:00

This is the kind of room that drops people's jaws when they walk into it. This is why I love doing powder rooms-they can be really over the top! This powder room is in the formal entry of the Casa Nova.

This finish was created to more or less match the silk fabric used on the sconce shades, and the colors in the onyx slab. The walls were base coated with a matte terracotta color and then we did a strie-or dragged glaze-with gold metallic. The damask stencil was one I purchased, and I stenciled the pattern with sea sponges using a variety of burnt sienna and venetian red glazes to create a lot of depth and fading. Interior Design: Denton House Interiors.

Gilded ceilings with scrolling border

2010-09-07T10:05:00.001-07:00

In this home there is a formal dining room and a formal living room on either side of the entry. We gilded-or gold-leafed-the ceilings in both rooms and created the chinoiserie scroll border.

The ceilings were first base coated in red to mimic the traditional bole clay used in gilding. We used a chalk line to create a grided guide to keep the individual leaf in straight lines. I used dutch metal (a brass alloy) rather than gold, applied with Aquasize water-based size. After burnishing, the leaf was finished with multiple layers of shellac.

The formal sitting room on the opposite side of the entry. Here you can see the beautiful asian-style painting above the mantle that we took inspiration from.

In this detail you can just make out the silver flower detail that we applied in a staggered pattern over the gold. I designed the scroll stencil and hand-cut it from thick mylar. We used an adhesive spray with the leaf for the border. Incidentally, we did the second ceiling in half the time of the first. I am always amazed how quickly the work goes once the problem solving has been worked through and the order of operations has been established. Whenever possible I do things assembly-line style. Architecture and design by Robert MacArthur.

Crushed silk finish with staggered stencil

2010-09-07T09:29:00.000-07:00

I love the look of a staggered stencil motif over a more organic-looking backdrop. In this case, the periwinkle blue base coat was treated to layers of metallic glaze using newsprint in an additive way to create the warm undertones. Next I applied a slate colored glaze and used the newsprint to lift off the color in a subtractive way.

A small, windowless powder room like this one really benefits from rich color and pattern. Whenever I do patterns, I plan out where everything will fall and determine the best placement before I start. Interior Design: Lynn Stoner

Metallic checker-board squares

2010-09-06T18:20:00.001-07:00

I never tire of working with metallic paints. This dining room finish was created by base-coating the walls in a pale honey-due matte latex paint (which is the lightest color you see) followed by vertical bands a shade darker. Next, we taped off alternate squares and used two custom mixed metallic colors, one silvery blue and one bronze, to create the checkerboard effect. Notice how the squares are perfectly tiled to fit the walls?

Old book wallpaper

2010-08-25T14:05:00.000-07:00

This finish-for the mens and womens bathrooms at the Alpine House-was created by tearing apart old books culled from the basement of Sam Weller. I focused on subject matter pertinent to skiing and the West, seeking out 19 C farmer's almanacs, survey maps, books of flora and fauna, and botanical illustrations to work with. I also found a very vintage Jean-Claude Killy book with great skiing illustrations from the seventies that we had a lot of fun with.

We used heavy duty wallpaper adhesive to collage the paper to the wall, and then troweled-on a thin layer of joint-compound mixed with matte gel medium that was tinted a warm parchment color. This sealed the paper, filled in some of the thin gaps, and created a nice striated quality.

Gilded squares on barn-wood walls

2010-08-19T17:42:00.001-07:00

Alpine House in The Canyons, Park City. I did this reverse gilded signage for them on the glass doors.

This idea came from Denton House Interiors.

I cut the dutch metal down to the size of gold leaf, and we applied Rolco Aquasize to the slats using tiny rollers and a square stencil cut slightly smaller than the metal leaf.
We also did the rusted patina on the metal encased half-wall you see here.

After burnishing, the gilded squares were individually sealed with clear shellac.

We concentrated the application through the center of the wall and petered it upward. The opposite wall is all windows, so the leaf catches the light, creating clusters of constellations.

Interior Design: Denton House Interiors

French "grain bag" stenciled chairs

2010-07-12T16:35:00.000-07:00

Seating area at the Alpine House in The Canyons, Park City.

Detail of our stencil-work on the burlap/linen armchairs.

I am using permanent ink (from a pre-inked pad) with a blotting tool I found at the craft store to apply the red color. I hit on the idea of using ink because I was concerned about paint bleeding through onto the course fabric. I was mortified of ruining these chairs!

I hand-cut the stencil based on a French pattern taken from an antique grain bag. We turned the pattern every which way and let it run off the chairs to create the feel of salvaged piece-meal fabric. With the ink, I was able to get an authentic stamped and faded look.

A view to the vestibule where we rendered the walls in Venetian plaster.

Creamy white burnished and waxed Venetian plaster.

Interior Design: Denton House Interiors

Mountain Homes

2010-06-27T20:27:00.001-07:00

We were hired by Denton House Interiors to do a parchment glaze on the walls and ceilings of this Park City mountain home, built by Thomas Mcphee Construction.

The beauty of this finish is its subtlety. I don't care for glazed walls that appear dirty or heavily "fauxed". I don't like to see rag or brush marks that betray the tools used by the painter. Instead I have spent many years perfecting a glazing technique that leaves the walls awash with even, delicately mottled color, that feels integrated into the environment.

The finish makes the walls glow with unexpected warmth when the light hits them.

The walls look more tactile than standard painted walls, and the finish relates visually to the local mountain stone and weathered wood.

We also glazed this tree wallpaper, at the designer's request, because it felt too stark.

Earthy pink walls in the girl's bunk room. Custom beds by Old World Antique Reproductions.

Detail of the hand-painted wildflower sconce shades. Interior Design: Denton House Interiors

Mountain Homes Continued

2010-06-27T16:47:00.000-07:00

These textured walls were given a layered wall finish using lime-wash and acrylic glazes.

I do a lot of work in mountain homes in Deer Valley and Park City. The foor plans are always very open with a lot of windows and richly finished cabinetry, wood beams, and wood floors.

I find that standard wall paint just doesn't cut it in this environment. The walls are better off with a decorative finish to impart texture and depth.

Parchment glaze in the Great Room. Interior Design: Denton House Interiors

Contemporary dining room

2010-06-10T14:40:00.000-07:00

In this contemporary Salt Lake City home designed by Marilyn Lewis, I created a bronze plaster wall treatment for the dining room.

This lustrous finish is made up of at least six thin layers of custom blended metallic material applied with flexible steel trowels over a coordinating base-coat color. Rose painting by David Dornan.

We used Modern Masters custom blended Shimmer Stone and metallic paints in specific layered applications to get varied mark making patterns.

Rabbit painting at the end of the hall by Jason Wheatley.

Large abstract painting by Lee Deffabauch. Interior Design: Marrilyn Lewis Design Group

Iridescent powder room walls

2010-06-10T14:03:00.000-07:00

We took inspiration from this iridescent glass sink to create the wall finish.

The finish was created by layering silver and red metallic glazes over a terracotta brown base coat using brush and sponging techniques. The combination of transparent layers created subtle grey-green and taupe undertones.

Light from the pendants dances over the metallic surface. Interior Design: Marilyn Lewis Design Group

Austrian-style painted ceiling

2010-04-02T10:38:00.000-07:00

Before shot of the ceiling I was hired to paint at the Goldener Hirsch Inn in Deer Valley, based on the original hotel in Salzburg, Austria.

Austrian-style hand-painting inspired by Alpine folk art.

They requested an edelweiss flower motif. I designed this pattern of flowing edelweiss, tiny vines, buds, wild strawberries, and rosemaling scrolls.

Another detail showing transparent colors and the key to the style: confidant flowing strokes.

I painted hundreds of edelweiss. I wore an inflatable neck pillow to save my neck, and used a mahl stick to save my arm.

During this job, I took a lot of inspiration from my trips to the Austrian country-side to visit my Aunt Gail.Interior Design: Denton House Interiors

Rustic color-washed accent wall

2010-04-01T10:03:00.000-07:00

This color-washed finish is evocative of the aged lime-washed exteriors of the Southwest and Mexico. As an accent wall, the color and texture provide a rich setting for the rustic furniture and primitive objects. This color-wash finish consists of two transparent layers of brushed and ragged acrylic glaze.

Soothing green Italian plaster

2010-04-01T09:47:00.000-07:00

I created a matte Italian plaster finish for this powder room to provide a backdrop for the different elements. I think it brings it all together and you can't go wrong with these soothing green tones. (From the same home as the interior above.)

Mantle makeover

2010-03-29T18:57:00.000-07:00

For many years this mantle had been painted in a generic semi-gloss white paint. We wanted to make it an elegant focal point for this living room and so it was base-coated in medium grey (above) in preparation for a gesso and gilt inspired finish.

Detail of the gesso and gilt inspired finish. It was created by dry-brushing and dragging layers of off-white acrylic paint over the grey and then pouncing and fly specking in warmer tones to create depth and aging. The moldings were bronzed using Modern Masters metallic paints. First they were painted a deep charcoal and then shades of gold metallic were applied.

The final look is soft and elegant. In my opinion, aged finishes should always look lovingly worn-never harsh and dirty.

Damask stenciled powder room

2010-03-19T10:46:00.000-07:00

View of formal powder room from the hall. We stenciled the walls and ceiling using an all over damask patterned stencil. The walls were finished in a smooth interior plaster in taupe beige.

Copper sink and travertine tile.

Detail of upper border: egg and dart style custom made stencil with trompe-l'oeil effect. Interior Design: Denton House Interiors

Alpine wildflower painted mantle

2010-03-16T13:55:00.000-07:00

Original sketch approved by the client.

Finished mantle in the studio, before installation in a Sun Valley mountain home.

Detail of distressed hand-painting. This motif and style of painting borrows from Alpine folk painting, especially the flowers. The scattered branches, leaves, and berries are more what I would call contemporary botanical.

What I find most beautiful in this kind of painting is a free-flowing quality and the little irregularities that make it feel "folky". Interior Design: Denton House Interiors

Wainscot painted in milk paint

2010-03-16T11:00:00.000-07:00

In this dining room, we decided to create the feel of solid wainscot panels by painting the lower half of the walls and applied moldings with rich red milk paint from the Old Fashioned Milk Paint Company. Milk paint, or casein, has a velvety mineral quality, imparting weight and substance to the surface. I also did French-style hand-painting on the columns. All in all, our paint-work, and a lovely chandelier, transformed this generic space into an elegant and distinctive dining room.

Detail of hand-painted columns and softly burnished milk paint.

Cerise faux finish

2010-03-10T15:34:00.000-08:00

When I created the sample finish for this dramatic great room, I took inspiration from the irridescent glass mosaic tile-work. (The white outlets "disappeared" after the furnishings were installed, otherwise I would have painted them to match.)

The views looking West, toward the kitchen and breakfast nook. The walls were especially gorgeous in the afternoon and evening light, as the metallic layers caught the setting sun.

We started with a burgundy base-coat on contractor textured walls, and then sponged on a custom tinted cherry red metallic. When dry, we waxed the walls with a mixture of liquified Minwax (diluted with mineral spirits) and Kremer pigments Colibri glitter-gold. By waxing I mean that we trowelled-on a thin amount of the gold wax with flexible knives and then buffed the wax with terry-cloth towels to a soft sheen. Interior Design: Marilyn Lewis

Metallic striped accent wall

2010-03-10T13:23:00.000-08:00

I like to use color to organize space and create a sense of presence. This partition wall served to demarcate the kitchen from the living room and was the back-drop for the mirrored cabinet that anchored the dining area. I chose to do wide horizontal stripes in a bronze metallic version of the bay-leaf green walls. The stripes wrapped all the way around the partition wall, creating 360 degrees of interest, and providing a sleek focal point for the dining area. The wall color was a flat (sheen) paint, and the metallic, custom tinted Modern Masters.

My client said the "F" word when she saw it--in a good way.

Ochre Venetian Plaster

2010-03-09T12:47:00.000-08:00

This before & after shows the misconception that stark white walls brighten a room. In my experience, white walls work best in spaces that are flooded with natural light. In shadowy rooms and in artificial light, stark white tends to fall flat. This large study was desperately in need of warmth and richness. Even though it had nice wood details, there were only a few windows on one side of the room and it felt cold and grey. To achieve our goal, I created this matte
Venetian Plaster finish, trowelled-on in layers of sunny ochre. Interior Design: Lynn Stoner

For more on the subject of white interiors, read Rachel Perl's article: Full Spectrum: White, Without Light, Does Not Equal Bright
and check out her amazing blog about color, Hue.

Entry with red glazed walls

2010-03-06T21:18:00.000-08:00

I love white walls under the right circumstances. I like to say: white by design not by default. However the white walls in this Deer Valley entry felt sterile and almost institutional. So we transformed the space by texturing and glazing the walls a rich red. This finish-with its linen-velvet quality-added warmth and vibrancy to the entry, and served to accentuate the art and furnishings.

For this finish we textured the walls with a tinted joint compound mixture that we pounced with masonry brushes-while wet-and then smoothed with a trowel to create a subtle texture. The texture was then based-coated with latex paint in a raspberry red and glazed with a burgundy color. Originally we were hired to do just the alcoves (not pictured) but the client and designer liked the effect so much that they had us carry the finish throughout the hall. Interior Design: Linda Johnson

Color Schemes: analogous and complimentary

2010-03-03T18:05:00.000-08:00

Detail, "Birds and Urns" decorative panel commission. Painted on cracked plaster with acrylic and lime-wash, on stretched muslin.

I love analogous colors together-especially blues and greens. So when I created these decorative panels, I pushed and pulled the blues in the "Birds and Urns" painting toward periwinkle and robin's egg, anticipating how the colors would play off the honey-due walls.

The designer did a beautiful job of complimenting the pale-green walls with russet-red fabrics and rich accessories. A view into the adjacent family room continues the analogous theme with a blue-grey wall color.

For this family room I chose a warm blue-grey, off-white trim paint, and a warm neutral for the ceiling.

Red accents bring it to life.

I love this glazed red chest with the silvery blue wall color. Interior Design: Lynn Stoner

French scrolls powder room

2010-03-03T17:21:00.000-08:00

I really enjoy researching historical patterns and motifs when I am doing design work. This is a French textile pattern from 1849 that caught my eye. I liked the delicate, interlocking scrollwork, and so I used it to inspire the stencil below.

Detail of the French scrolls stencil I created for this powder room, based on the textile above.

Powder room with gold metallic French scrolls all-over stencil. Interior Designer: Marilyn Lewis

History of Sundance, Gallery Walls

2010-02-26T11:39:00.000-08:00

When they re-did this hallway at Sundance Resort, I was hired to create a wall finish for a permanent gallery of the history of Sundance and photos from the beginnings of the film festival. I created this matte Italian plaster finish with a stone-like texture in layers of mossy greens. I had the opportunity to work directly with Robert Redford on this project. He selected the final sample and when we met after the project was completed, he told me how much he liked it.

The finish had to be smooth enough to screen-print text on. The soothing jade and moss greens were perfect for this space and are echoed in the stone at the end of the hall.

Stenciled Entry Wall

2010-02-26T10:56:00.000-08:00

For this entry accent wall I used an all-over stencil pattern. The wall was glazed and mottled to create depth and then the pattern was stenciled in different tones to create a softly faded feel, with a little metallic to catch the light as the front door opens.

Strie Finish in Spa Bath

2010-02-26T10:13:00.000-08:00

Strie is a French adjective meaning striated or scratched. It describes the technique of pulling a tool through a wet glaze leaving a linear pattern.

In this spa bath at the Casa Nova there are three layers of striated glazes, the first layer a soft metallic which just peaks through the following glazes in shades of honey-due green. In the mirror you can see 3form panels with birch branches. Interior Design: Denton House Interiors

Entry with Glazed Paper

2010-02-24T17:06:00.000-08:00

I collaborated with designer Bert Vieta on this entry many years ago. He always had a fresh approach and was very supportive of my work. To create this effect I primed and base-coated lengths of medium weight craft paper and then color-washed it with taupe glazes. The glazed paper was cut into squares and hung in a grid pattern with wall paper adhesive, creating a lovely tactile effect.

A view of the wet bar. Interior Designer: Bert Vieta

Colour Advisory: Contemporary Mountain Home

2010-02-23T18:42:00.000-08:00

To my clients I offer colour advisory and selection. In this contemporary home built around an old log cabin in the Utah mountains I chose a palette of mineral greys, with earthy blue, yellow, and coppery red accents. For the master bath, I selected a soulful blue to accent the shower wall and set off the copper tub. I chose warm neutrals for the other walls, trim, and ceiling.

A vivid curry yellow accent wall in the master bedroom and warm grey walls with darker trim.

Enhancing the sense of light on this architectural "bridge" by using a yellow accent. I chose coppery reds-a deeper shade for the interior-to accent and organize a media wall.

A cobalt blue door in a bedroom with robin's egg blue walls, and a warm neutral trim are unexpected.

Ceiling Medallion

2010-02-21T20:40:00.000-08:00

Original sketch approved by the client.

Library ceiling with hand-painted medallion.

This ceiling medallion for the Casa Nova, see below, was inspired by Spanish and mediterranean historic patterns.

The Casa Nova

2010-02-21T19:38:00.000-08:00

The master bedroom suite where we stenciled custom designs in a staggered pattern on the bed wall.

Softly aged walls with a warm metallic trowelled base in the Master Bedroom.

Dining Room ceiling with layers of metallic plaster.

Parchment glazed walls in the Great Room. This technique adds so much warmth to the walls and to the whole atmosphere. Interior Design: Denton House Interiors

Carved footstools made by Antique Old World Reproductions from the Great Room above. Detail of my hand-painting in gold on the leather seat.

Custom copper wall covering

2010-02-17T19:02:00.001-08:00

Copper patina custom wall covering. In the studio, I painted a roll of heavy-weight craft paper with Modern Masters metallic paints and applied multiple patina solutions as I went, creating variations on a theme. The paper was then cut into rectangles and applied in a staggered pattern with heavy duty wall paper paste. Then I added the copper tack nails to the corners (see detail below).

Copper tacks in the corners.

This powder room was located in a contemporary home built around an old log cabin in the Utah mountains. The copper wall covering turned this powder room-just off the main entry-into an incredibly warm and unexpected space. Interior Designer: Lynn Stoner

Dutch landscape inspired painting

2010-02-17T18:30:00.000-08:00

Original watercolor-sketch, approved by the client.

Finished painting. Oil on canvas with crackled varnish.

The commission, set in place.

Location shot. A romantic focal point for the living room. I love this classic colour palate of celadon blues, greens, and browns. Interior Design: Lynn Stoner.

Oval Ceiling Entry

2010-02-16T18:44:00.000-08:00

Parchment glazed walls. Metallic plaster on oval ceiling.

Entry with stain-glass window. Textured walls softly glazed in a parchment tone. Ceiling oval rendered in trowelled layers of custom tinted shimmer stone, a Modern Masters product, with a metallic over-glaze in champagne, creating the look and feel of shell. Interior Designer: Denton House Interiors.

L' Apres Midi Au Lac

2010-02-06T17:25:00.001-08:00

My original sketch approved by the client for an impressionist-style painting inspired by Maurice Prendergast's, "The Picnic".

Before shot of the immense wall the painting was commissioned for.

Because of the large scale of this painting and our concern about warping, I ordered custom built aluminum frame canvases from Lucious Hudson in California. They were perfect and worth every penny.

Applying multiple coats of Utrecht gesso with a sponge. Serenaded by fellow artist Steve Larson.

Drawing out the composition using a grid method.

Painting in progress using Utrecht lightfast acrylics. The canvases barely fit on the longest wall of my studio. There is a large mirror strategically placed on the opposite wall which I used to observe the effect of distance, since I knew that the painting would never be viewed close up because of its location.

Early detail shot.

Completed painting, L'Apres Midi Au Lac, 15' by 6'6", acrylic on canvas with UV varnish finish coat, 2009. This was a very special project created exclusively for La Bastide de Neige in Deer Valley, UT.

Location shot: Installation by preparer Ben Weimeyer, using a French cleat hanging system. Ben is truly an expert!

Hung in place. View from the sitting area.

View from the upstairs balcony

View from the entry.

The adjacent rotunda with faux marble columns, that I painted.

The grand entry with faux marble columns. I love this classical European color scheme: earthy pinks derived from French ocher or Italian red sienna, with red and green marble.

Garden Fresco Inspired Commission

2010-02-05T13:19:00.000-08:00

Garden room fresco-mural from the villa of Livia, 50 BC. I have always loved this wall painting that now resides at the Museo Nazionale Romano in Rome, where I had the good fortune to see it some years ago.

So when a designer I have a long-standing relationship with wanted a large painting for her client's dining room wall, I jumped at the chance to take inspiration from this famous garden scene.

My original sketch approved by the client.

Finished painting. Giardini D'Amore, 57" by 72" acrylic, wax, pigments, on canvas

Hung in place. I selected the wall, trim, and ceiling paint colors, for both rooms, and finished the corner cabinets in a softly-aged, limed finish.

View from the entry. Interior Design: Lynn Stoner

Detail.

Photo taken around Easter time. I also finished the dining table, distressing and aging the alder wood by applying multiple layers of custom mixed stain. It was finished with satin lacquer by Calls Design.

Get Well Gail!

2009-11-29T18:47:00.000-08:00

This is Gail Gatterburg sitting at her kitchen table in Retz, Austria. She is no doubt in the midst of telling a story from the arsenal born of her truly Bohemian existence. She is the great inspiration of my life. As a figure, long before we ever met, she always captured our imagination because she was the fairy-tale aunt who managed to escape this humdrum tacky life, in favor of the life of the theatre in Vienna, velvet capes and dirndls, real candles ablaze on the Christmas tree, air-mail, advent calendars, courtyards with linden trees, a bicycle--she never learned to drive a car--and forging life-long friendships with actors and play-writes, artists and wine-makers, aristocrats and musicians. A glittering bunch indeed.

The waking dream that is breakfast with Gail. Her kitchen is part of the 17th Century wing of the monstery in Retz. The candles are lit, there is fresh bread warmed in the oven, an assortment of spreads and preserves, creamed honey from the monks across the courtyard, sliced ham, and sometimes soft-boiled eggs in egg cups--like on Masterpiece theatre, you break the shell with your knife, and eat the creamy yolk with a tiny spoon made of shell. The coffee is strong Viennese coffee with milk warmed in an ancient silver pitcher. She creates this breakfast--whether we are there or not--because she delights in it!

Gail in Irena Rosc's studio, in a famous nearby castle. Irena and I had talked of collaborating. I am afraid I have yet to get the ball rolling.

Gail on our balcony in Mlini near Dubrovnik, Croatia. Maren, Gail, and I went there on holiday two summers back. We were enchanted by the "Pearl of the Adriatic". Maren put the trip together, and I was heavily subsidized by them both. It was golden.

Gail afloat in the Adriatic. This is around the time she exclaimed,"I have discovered what I am: a Goddess in a portable temple!"

Gail and my darling cousin Maren, who is like a sister to me, and my partner in crime. They are blood related, beautiful and complex.

Our fish picnic! We were so ecstatic in this moment.

I am thinking of Gail. Missing her. Wishing for her speedy recovery. Coming to terms with the fact that I can't imagine life without her in this world. She had hip surgery and is still in the hospital. It seems to have gone really well. She is about to turn 74. Sometimes I feel like a failure because I have not escaped this humdrum tacky world. In fact, here I sit in Salt Lake City, Utah and the clock is ticking.

It is up to us to luxuriate in the life we have created for ourselves...

Large-scale Painting

2009-07-01T18:57:00.000-07:00

This is a project I am currently proposing for the Epstein residence in Deer Valley. It will be 15 feet long and 5 feet 6 inches tall, painted in light-fast acrylic on canvas.

The original inspiration is Maurice Prendergast's "The Picnic", 1914-15. I love the intense clarity of the palate, the movement and atmosphere. The three female figures are reminiscent of so many classical paintings.

Chinoiserie Bed

2009-07-01T17:19:00.000-07:00

I painted this chinoiserie-style bed in the studio recently.

It was a very unique and delightful project, once I got a hold of it.

All I had to work from was this tiny photo of the Charles Pollack bed we were reproducing. It was an insane challenge. I only had a few weeks.

The bed was custom built by Old World Antique Reproductions. The posts and linen fold panels are hand-carved. These photos were taken before the final distressing, glazing, lacquer finish, and gold lining on the posts, which no doubt made it even more lustrous. I used Kremer Colibri gold pigments suspended in Liquin fine detail. The most laborious part was the lining-work on the curved panels, for which I cut templates out of mylar to guide me. I hope our lucky client has opulent and exotic dreams!

Currently showing

2009-06-24T13:02:00.001-07:00

I have new work showing this month at GARFO Gallery and Art Access Gallery

Small works in collage

2009-06-23T23:24:00.000-07:00

2009-06-18T09:23:00.000-07:00

New Works

2009-02-26T10:28:00.000-08:00

Untitled Series, 11" by 17"

ink, charcoal, graphite, acrylic, on paper

Fresco Work Slideshow

2008-11-14T18:24:00.000-08:00

Created with Admarket's flickrSLiDR.

Currently showing at Kayo Gallery

2008-10-27T20:03:00.000-07:00

Skulls Never Go Out of Style
Now showing at Kayo Gallery
thru November 13th

"Skulltacular" 17 inches by 22 inches 2008 ink,
paper, shellac, spackle, stand oil, paper, on panel

In the series, Skulls Never Go Out of Style, I refined the fold-over technique often associated with Rorschach tests or ink-blots. The skull portraits were half rendered, half left to an organic outcome. The greater aspect was thankfully beyond my control because I prefer-what I perceive as-organic methods of art making: I want the work to become greater than myself, to go beyond the limitations of what I know. In a sense, I want proof that there is a God. Of course, these timely skulls are all about death or the end of things.

As for the process, I applied ink strategically and then folded and pressed the
paper many times, using symmetry to develop a kind of biology. I applied drops of stand-oil (home-made raw linseed and beeswax) to the paper first, then multiple dilutions of india ink to build the image, then when dry, mounted the paper with archival Yes glue to gessoed hardboard panels, filled distressed areas with spackle, and sealed the paper with multiple layers of shellac, buffed with fine steel wool. I painted the sides of the panels poppy orange purely to create reflected light.

2008-10-27T12:36:00.000-07:00

Skulls Never Go Out of Style

2008-10-27T12:03:00.000-07:00

Titles (clockwise): For the Uncontrolled (there is no wisdom), Skulltacular, Frontal Eminence, Eaten by the Night 17 inches by 22 inches 2008

Opening at Kayo Gallery

2008-10-16T09:41:00.001-07:00

I will be showing my new series, "Skulls never go out of style" along with Gentry Blackburn and Amy Abshier-Reyes this Friday at Kayo Gallery. Opening reception from 6-9pm. See you there.

2008-06-28T09:47:00.000-07:00

Now showing at Two Creek Coffee House
502 East 3rd Ave SLC, thru November 2008

Evidence of Lovers 2008 ink, acrylic, paper collage, wax

Katharine and Brian.
Don't entrust your cappuccino to anbody else!

Hey there Ben!
To the right: Menagerie 2008 ink, acrylic, paper collage, wax

collage on paper

2008-06-28T09:42:00.000-07:00

Rural Fantasy #2 eleven inches by fifteen inches ink, acrylic, wax, paper 2008

The Forgery eleven inches by fifteen inches ink, acrylic, wax, paper 2008

Boudoir eleven inches by fifteen inches ink, acrylic, wax, paper 2008

Musk eleven inches by fifteen inches ink, acrylic, wax, paper 2008

SALT LAKE ARTS FESTIVAL

2008-06-22T10:06:00.000-07:00

Come over and see me with all my new work! BOOTH #23

New Work

2008-06-22T10:03:00.000-07:00

Mixed media on paper.

337 INSTALATION

2007-09-15T17:46:00.000-07:00

IN THE WORLD, NOT OF THE WORLD.
True Fresco, AAC Blocks, Honey Jars, Smoke, Wax & Mirrors.