What makes an art show successful? Red dots are wonderful, but they don’t tell the whole story. I’ve started tracking both piece sell-through and dollar sell-through—and looking beyond immediate sales to the relationships and opportunities that can emerge long after a show ends.
My latest Drunkard’s Path paintings explore more than the quilt block itself. Inspired by the tradition of all-over quilting stitches, I’m experimenting with surface patterns that flow across the entire composition, creating a second layer of rhythm and texture that complements—rather than simply outlines—the underlying geometry.
Collectors don’t always buy art the first time they see it. This summer, a few returning visitors reminded me how discovering art can become a conversation that unfolds over time—and sometimes across hundreds of miles.
This is what I’ve been painting while listening to these two books. If you haven’t read In Love by Amy Bloom or The Correspondent by Virginia Evans, I can’t recommend them enough. Read them close together if you can. They have a lot to say to each other.
One of the oldest painting techniques in the world, encaustic has been around since ancient Egypt — but my approach to it is anything but traditional. Here’s what the medium is, why I work dot by dot, and what makes this process feel completely like mine.
August was a whirlwind of art, connection and more than a few red dots. From my Patterned Worlds solo show at Ali Gray Gallery to seeing my art worn out in the world—and watching work find new homes—it was a month that reminded me just how much can happen in a few short weeks.