This is where the "genius" happens...

Here is my art studio. It is awesome - as big as a two-car garage. I have never had this much space with this much lighting, nice views (not evident in these night time photos), climate control, etc. It is still a work in process. I'll be building a storage space for my paintings and have various stations set up for chemicals, hot plates, etc. Elsewhere on the property I have an area for a wood/mosaic shop, a place to throw pottery if I ever decide to get back into that, and places to store all of this stuff. This is a real blessing from God. An artist, if he is serious, needs dedicated space in which to work and store all of his supplies... a place that is both functional and comfortable. Thanks be to God for this space!

My current "long-range" art projects include a set of the Stations of the Cross, a large crucifix for use in a church, and a picture of St. Francis to be raffled off to raise money for the church. Otherwise I am finishing up a Madonna and Child enthroned and surrounded by angels.

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J.I. Packer's Remarks Regarding Anglo-Catholicism

Note: I have decided to delete this post since the link to the article is no longer working and since it has been revealed that J.I. Packer did not write it. JGA+

Some Observations About Light in Landscape Painting

As I slowly begin returning to painting landscapes the question of light arises. For most of my artistic career I have not been that interested in light in paintings, though I enjoy it in the works of other artists. However in landscape painting light is very important, so lately I've been examining the use of light by various landscapes painters, all of whom would be called "realists." What I found in closely studying their paintings is that they are not strict and mathematical, if you will, about where the light hits. In fact in many realist paintings – those of Andrew Wyeth come to mind – the light is very natural looking at a glance, but then upon closer examination is highly invented. I find nothing wrong with artists taking this liberty. The key to light in landscape painting seems to be to make an effort to simply include it in the work, and not obsess over where everything lines up and how it strikes each object in a uniform way... almost like a Bob Ross paintin

A Tale of Two Cathedrals

My wife and I just returned from vacation. While away, we got to visit the Basilica of the Assumption of the Blessed Virgin Mary in Baltimore, which had recently undergone a huge renovation. The last time I was there was to see the famous "Timla Relic" a few years ago. Unlike some horrific church renovations that have gone on in recent years that were supposedly meant to "update" the church, this restoration was meant to "return" the interior of the building to its original Federal-period design. And I must say that it a very tasteful renovation. They did a really good job. It looks almost like an old early Episcopal church - white washed interior, minimal designs, etc. The interior is now very bright because they removed the stained glass (dark blue Willet windows), and uncovered the original skylights in the dome. They kept all of the good stuff (the high altar, altar rails, etc.), and brought some cool old stuff back (e.g. the nation's first RC epi

J. Gordon Anderson - Contemporary Art

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