Linger in the Light: A Monument to Hidden Depths

Painting Title: Quiet

Dimensions: 6 ft x 5 ft

Most people associate my work with big energy and bold color.

Vivid reds. Explosive yellows. Blues that practically hum. Paintings that feel like motion and volume and adrenaline all at once.

Quiet is different.

At six feet tall by five feet wide, this piece is one of the largest—and one of my favorite paintings I’ve ever created—because of its complexity and the discipline it demanded.

It’s the second painting from a two‑piece series. The first now hangs in the corporate collection at Eli Lilly & Co.

This one stayed with me longer. I needed to live with it. Unravel it. Let it reveal itself.

Where most of my paintings build toward high‑energy color, Quiet does the opposite.

It began dark—nearly black in places—with aggressive scrapes of acrylic. Then came the resin. Then more acrylic. More resin. Over and over, layer after layer, depth built on depth until the painting felt almost geological. The topmost layers drift into soft whites and hazy creams, gradually obscuring the earlier turbulence below.

From far away, the painting reads as serenity.

Up close, it’s a map of decisions.

Resin pools. Buried strokes. Evidence of work and motion frozen inside glass. Whispering through the surface, the darker layers never fully disappear—they just become a secret for whoever chooses to lean in close enough to find them.

"Quiet is one of my favorite works because it challenged me.

Not to be loud—but to be still.

Not to show everything—but to hide the best parts just beneath the surface."

In a world (and in a portfolio) full of loud color and explosive energy, Quiet earns attention by refusing to fight for it. It rewards focus. It demands presence. It invites depth.

It isn’t calm because it lacks complexity.

It’s calm because it contains so much of it.

And that is why it remains one of the pieces I’m most proud of.