How Far We’ve
Come
Taking Time
Young Builder
Justice
for potential galleries to approach
with my work. Quent was willing to
ta a han on a
in arti t
with almost no body of work and
no formal training. It’s been a
wonderful relationship.
What awards have you received
for your work?
I’ve been an Art Renewal Center
nn a a on na i t th a t
years. Muse and Medium and Ready
for the Day both received an award
of merit in the Springville Museum
of Art’s Spring Salon. In 2006,
Waking among the Clouds was
judged “Best in Show” in the
Intermountain Society of Artists
juried exhibition.
Are there particular subjects that
you want to paint that have not
made it on to your easel yet?
Yes, many. On the immediate
horizon, I’d like to add a third piece
to the Liberty and Justice series.
I’m still working out the details,
but it would be titled Truth or
something along those lines. I have
a pile of sketches leading towards
a spiritual sequel to How Far We’ve
Come. There are a number of
scientists and thinkers I’d like to
138
eventually get around to painting:
Nicola Tesla, Issac Newton, Thomas
ff r on an
y atia to na
a
few. And, eventually, I’ll get around
to th ar
ti
r
a a
and Icarus composition that Study
for the Triumph of Icarus was an
early study for.
You sometimes offer signed
and numbered, limited-edition
reproductions of your work on
canvas. Can you tell us a little
about the process used to
create them?
h n
ni h a aintin
a o t
always take it to be photographed
or
n it off to it n
ho
These days, they call it a digital
scan, but it’s basically just a really
high resolution digital photograph
taken under carefully controlled
lighting conditions to get the best
color and to reduce as much as
o i
th
ar off th an a
texture and brush strokes. Ideally,
provided there is no rush getting the
painting shipped somewhere, I then
ta th ori ina an th i a
to my printer to have a proof made
and color matched. I keep the proof
an th
ar
y
irr
a ay
in case I ever decide to produce a
print run. The prints I have made are
digitally printed Giclee prints on
archival artist canvas. I have a long
working relationship with my printer
and have always been impressed with
their commitment to producing the
highest quality products, and staying
up to date on the latest
improvements in printing technology.
Which artists past or present
influence your work and why?
That would be quite a list if it
were complete, and it tends to shift
over time, depending on what
I’m currently working on. I love
o
r a
tran
nt
h ton
and the way he is able to transition
from a very loosely painted
background to tight, beautifully
r n r
r
hi
in a
uniform, coherent feel throughout
an entire composition. I’m a huge fan
o
a
arri h
ra t an hi
attention to detail and airy light.
Alex Ross is always good inspiration
for a dynamic composition with a lot
of motion. There’s something I really
like about John Berkey’s work too.
He paints very loosely, but very
precisely. Lately, I’ve been on a
Norman Rockwell kick. His narrative
ability is incredible, and his
compositions are really amazing.
Heroes
There are also a number of
ont
orary aint r
ho in
n
my work, not only because of their
own skill but because they are
willing to share their process and
discuss art and art technique. To list
a
off th to o
yh a
a o
o in
ray on arri h o a
ynt a i
ray
ff
in an
Scott Waddell. That list could go on
much further. There are a lot of
incredibly talented painters and
sculptors out there.
In addition to the body of work
that you make available through