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Meridian
Charcoal and canvas

The work, in daylight.

The same paintings, brought into a north-lit room. Nothing hides in here.

See the wall
A resting figure painted in warm ochre and violet on canvas.
Untitled (Figure Study)Mixed media on paper

The wall

Four pieces, hung where the light is most honest.

A painted violet hand reaches toward a green circular field.

Untitled (Hand Study)

Mixed media on paper
A graphite portrait surrounded by pale fish forms.

Untitled (Fish Portrait)

Graphite and wash on paper
A figure studies lantern light in a deep blue room.

Untitled (Lantern Study)

Pastel and pigment on dark paper
A resting figure painted in warm ochre and violet.

Untitled (Figure Study)

Mixed media
A charcoal portrait seen in soft, even daylight.

The portrait, at noon.

Daylight is less forgiving than the dark. The drawing held up.

A note from the studio.

People ask why so much of the work happens at night. It isn't a rule. The dark just removes the noise, and what's left has to earn its place on the paper.

Hanging these in a bright room is a test. If a piece still works at noon, it stays.

Detail of a painted hand beneath a green circular field.
Detail, Untitled (Hand Study)

Prints, once the proofs are right.

The first edition is being proofed in this same light. When it opens, it opens here.

Come see the wall, or write first.

Inquire