has high ceilings kind of things and this is actually a functioning factory they have manufacture foam over on the other side and they've allowed artists to rent this whole side of the building for a so the reason i have the studio is that i can come in and create something every day each of my paintings are small enough so that i can make them in a single day and then i post them on my blog see these are some of the examples of the work that i've been doing i'll use scenes from my trips to paris or to new york city this is a painting from brooklyn and then i have some from from paris others are just the flowers i find it whole foods or fruits and vegetables that are appealing to me and bring them into the studio set them up and try painting each day someone suggested i should challenge myself a little bit more and so i bought this bag of lemons thinking how am i going to make this actually look like a bag of lemons and that's an example of a piece that speed was everything because if i've stopped and thought too hard about that and put too many measurements into it and too much consideration it wouldn't have worked that's the beech tree and common in your christian square if you ever looked close at that tree is actually carving it from the one nine hundred fifty s my inspiration comes from everything it can be a magazine tear she turned magazines cards that i received those are cotton bags from paris that i pinned up there my ribbon anything really it just strikes me i keep it and i put it on the wall when i went to college i majored in textile design so i used to design upholstery fabric and i did art quilts a lot of the painting technique happened with special fiber paint primer paint for fabric not oil paints or anything that we would normally use on canvas and the the resistance happened with actually duct tape that i would slice into little slivers to get this crosshatching effect on the back is also done in some capacity this is a fabric it's a silk from jack larson studio in new york which i was able to use on the back because you don't necessarily see the back but it's an important part of a quilt so it's the tradition of quilting is that the front in the back get equal attention the daily paintings keep me working keep me painting every day and practicing new techniques but the larger scale paintings are the ones that i love to do these are the things that i feel like i've accomplished something when i'm done with these are the these are the the life that i want to give to a pay day or in this this tells the story a lot of my consideration is things like the the  powerline that's in in the piece to bring your eye up to the top of the piece and then back down but i like to have the big sky showing in the background in some paintings that i've done in the past i've actually put an extra canvas just for the sky so that you itself you know i think that a lot of it has to do is just putting out there what is what makes me look again life away from walking through a store and i see something that's really beautiful i want to be able to show it to other people so it's and they say to capture what's sit something and i like what i found at the craft stores it wasn't home sweet home and spare hers and santa claus are really sweet but it wasn't my stock size so i decided to learn how to make one of my paintings into across such patterns i could sit a painting i actually start with a computer program but one time stands the painting so if i if i take a painting like this this is water color this is the recipe series that i'm doing so this is the will eventually be all of the pieces that will become a cherry pie see stitched the cherries and then but you start with the painting stand into the computer and then i have to go in and work for a few hours to clean it out because a computer is only a starting point for me but the result is when it stitched the event out with this which is really i like the texture of it i like it more than the painting i like having the tactile quality i was you know that's why i love textiles i love working with the floss all those beautiful all the colors so i have to spend a lot of time refining that that translation that the computer starts but then when i'm done you can actually sit a painting what i'll be doing is selling the pattern and or the kid and people can do it themselves so everyone could make this painting it gives you a chance to be still and to single task for a while i think that we run ourselves into the ground and get so over and we overdo everything in life and just having a moment to just sit and focus on one thing and just work  so this is just a regular candice and i start with this is charcoal so the charcoals the first step to drawing out the the pattern which i've already done here so you can see that the black lines are just charcoal it runs right off if i wanted it to go away you can paint right over it it doesn't resist the paint and then i use turpentine and just really light wash of the oil paint to begin with this is all these are all oils i'm working with and when i'm looking for a c e can see in the that the bottles are actually pretty green so i'm just going to lay in sort of this this lady greenwash to represent the bottle and continue to form the shape of the bottle there's a bit of a the skirt the bottom has which is why i chose to paint this particular coke bottle so i'll start till i'm watching what i'm doing i'm looking at the bottle almost more than i'm looking at the canvas as i'm painting it and then as once i've i've sort of laid in this really faint layer of   layer of paint in the the way that the reason i do it that way is because if anything looks out of sync with what i'm seeing over here this is the time to fix it i mean i can always go back and lay more paint on top but i find that too many layers especially in something as simple as this tends to take the painting down it's hard to go back and step backwards out of it ok so let's just put in some way here for this is this funky little label that's on the bottle and then go back in i use a telephone book for my cleaning for an easier than a rag and then i can go back and i've already started to make some of the paints here for that just go back in and eventually i have to let this dry go back to put the lettering in in the bottle itself there are highlights of really dark rich colors like with this green accent at the top and when you start when you start going in and putting those in that's when you really get your shape it doesn't it always seems like it's almost like you're forming you're not drawing a line from the outside you're drawing you're coloring in the shadows around the bottle and then and then it and then the piece starts to come alive without even i'm never really drawing a continuous line with any color and literally putting exactly what i so i see a little tiny sliver of green and i'm thinking to myself why is that going to work but once it's there it took it home to see how it works to see coming a bottle which is for a long time that's a challenge because you want to paint well in your head is a bottle and to me a bottle is shaped like this but if i do it shaped like this i won't give that it all have a really heavy and you know it won't look like this bottle so then i go back in sometimes i have to just stop thinking and just it's well the writing is always the biggest challenge because you pretty much when you do a coke bottle that has to look like it says coke i mean it has to be able to do it now have to wait till it dries but you know it pretty much have to have that feeling  so then the other the other part of it is to put in a wash of something in the background so just for fun you know i can put in this we have this really dark drop here i'm just going to use like a purple the color for now i'll go back in with the navy later but this will be sort of the final