The Artmere Journal
Stories from the studio, notes on collecting, and a closer look at the rooms art calls home.
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Studio
The paintings that survive year two
A collection of letters from collectors in the second year reveals a pattern: the paintings chosen quickly, for mood and color, often find their...
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Process
What the photo never captures
Every photograph of an original oil painting is a small lie. Not from dishonesty but from physics. A camera sensor reads reflected light from...
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Interiors
Why texture outlasts every color decision
When collecting begins, color decides. What stays with you after a year, after three, is something harder to quantify: the physical surface of the...
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Interiors
The painting you keep discovering
An original oil painting is not a fixed object. The impasto and texture that reads one way in a photograph will read something entirely...
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Collecting
The real reason you bought it
Most first original paintings are not chosen under decorator influence. They are chosen under memory, a kitchen window in late afternoon, a room a...
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Process
Why I never paint in batches
The first time a collector asked why I do not paint in batches, I almost did not understand the question. Notes from a Brooklyn...
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Studio
The paintings that never leave
For every painting that leaves the Brooklyn atelier, two or three never do. They stack face to the wall in a corner I do...
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Studio
The painting after Mother's Day
In the Brooklyn atelier, the painting given to a mother almost never arrives on the holiday. It arrives on a Tuesday, eight to ten...
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Collecting
The thirty-inch mistake
Most first-time collectors buy a painting roughly thirty percent smaller than the wall actually asks for. A small notebook at the Brooklyn atelier tracks...
