Archive for the ‘A Closer Look’ Category

A Closer Look: Smile

Smile, Original Painting by Miles Davis of Massive Burn Studios

In preparation for the big night, we will be taking a closer look at a few of the featured paintings in our solo exhibit Vital Chroma. We hope that you will plan to make it to the event, as we will be showcasing over 70 original paintings in one night. For more information on Vital Chroma, click here.

For this post, we will feature the new painting “Smile.”

Smile


Smile, Original Painting by Miles Davis of Massive Burn Studios

Detail of Smile, Original Painting by Miles Davis

“…my feelings toward this painting can be summed up in one word: refreshing.”

After the creation of this piece, it has remained one of my favorites. I think I mostly have an appreciation of this painting for its simplicity and joyous nature, both traits being adverse to the majority of my work. This entire artwork was created essentially in two sittings and came together much faster than I anticipated. I had just watched some documentaries that dealt with positive thinking and the importance of trying to be happy, so I stumbled along with this idea and was very pleasantly surprised with the outcome.  I think the best way to describe my feelings toward this painting can be summed up in one word: refreshing. The process, the colors, the simple nature and composition, and most of all…the basic hopeful grin all just make me…smile.

This painting will be on display at our solo exhibit Vital Chroma, Saturday, April 27th from 7pm to 11pm. More details about Vital Chroma can be found here.

For more details or to purchase Smile, email us here.

A Closer Look: Heard. Seen. Spoken.

In preparation for the big night, we will be taking a closer look at a few of the featured paintings in our solo exhibit Vital Chroma. We hope that you will plan to make it to the event, as we will be showcasing over 70 original paintings in one night. For more information on Vital Chroma, click here.

For this post, we will feature the painting “Heard. Seen. Spoken.”

Heard. Seen. Spoken.


Heard. Seen. Spoken. Original Artwork by Miles Davis

Heard. Seen. Spoken. crop

Detail displaying the collaged newspaper clippings and dollar bills used to depict the unsubstantiated propaganda spewed by the media and media followers.

This piece deals with the reality of lost innocence and the impurity of most adults on a long enough timeline. The accessibility of information these days with the internet, unfiltered, allows for the hearing, seeing, and sometimes regurgitation or “speaking” of information that is not truly understood…all because the information was available. By portraying the opposite of the old adage “See no Evil, Hear no Evil, Speak no Evil,” this painting seeks to explore and confront the inner filter of such information of not only myself but also the viewer. The Figure with Headphones can hear things but cannot see them or tell you about them, whereas the figure with one eye can see and hear things, but cannot tell you about them without a mouth, and lastly, the yelling figure is spewing information in a forceful way, but is blind to what they are seeing.

This painting will be on display at our solo exhibit Vital Chroma, Saturday, April 27th from 7pm to 11pm. More details about Vital Chroma can be found here.

For more details or to purchase Heard. Seen. Spoken., click here to visit this painting in our gallery.

A Closer Look: Glide

Glide Original Painting by Miles Davis of Massive Burn Studios

Over the next week and a half, we will be taking a closer look at a few of the featured paintings in our solo exhibit  Vital Chroma. We hope that you will plan to make it to the event, as we will be showcasing over 70 original paintings in one night. For more information on Vital Chroma, click here.

The first painting we’ll be featuring in this series is Glide.

Glide


Glide I have been told numerous times by viewers and collectors that I paint many skulls in my work. This is true, and I’ve been asked if I enjoy painting “dark” things. The short answer is “Yes. I do enjoy painting dark themes. I feel it is personally therapeutic.” However, additionally, I do not always look at skulls as being dark. This odd piece resulted directly from that notion and was an attempt to paint the skull and a spirit in a brighter context than just “death.” This idea drives the overall feel of the painting. The cloak or ribbon is meant to encompass a spirit and is rendered in bright colors in homage to the coat of many colors in the biblical story about Joseph. The spectrum of colors is also meant to represent the different lenses through which death can be perceived. The bright day and green rolling hills hold purpose to further lighten the load of “death,” and the 3 wind turbines are indicative of the winds of change. Maybe this piece is more about the death of a chapter in life or the end of a phase in life, leading to brighter days despite the bittersweet emotions dealt in something having to die for something else to flourish. Such is the balance of life, I suppose.

This painting will be on display at our solo exhibit Vital Chroma, Saturday, April 27th from 7pm to 11pm. More details about Vital Chroma can be found here.

For more details or to purchase Glide, click here to visit this painting in our gallery.

A Closer Look: Spectral

Spectral, Original Painting by Miles Davis of Massive Burn Studios

When traveling from show to show, we often receive comments and questions regarding our artwork. Although ultimately, the meaning behind the paintings is up to the viewer, we’d like to use this segment to offer up some insight into a few of Miles’s paintings. Learn more about your favorite Miles Davis paintings straight from the artist. Have a further question? Have your own meaning? We’d love to hear it. Feel free to leave your comments below

For this month’s post, let’s take a closer look at “Spectral,” the first of a series of paintings where facial expressions are front and center. Miles explains his painting below.

Spectral


Spectral, Original Painting by Miles Davis of Massive Burn Studios

Spectral (cropped), Original Painting by Miles Davis of Massive Burn Studios…the color bars made the piece move in a much more emotional direction, each color shape showcasing an emotion…

Spectral is a painting I have come to refer to as a breakthrough piece. Throughout my entire portfolio, sometimes I feel like a certain piece comes along every so often and proposes a whole new direction for my artwork. Originally titled “ROY G BIV,” an acronym for the colors, the anthropomorphic qualities of the color bars made the piece move in a much more emotional direction, each color shape showcasing an emotion that can be associated with its corresponding color. The simple design of the work and power in that simplicity really seem to resonate with the viewers that have seen this piece in person. For me, the simplicity and straightforward nature was refreshing and rejuvenating, creatively. This piece has spawned a series of paintings currently referred to as the Litmus Series. I hope you enjoy.

For more information about Spectral, click here to visit our gallery.

Want to see more of the Litmus Series? Click here to see the full collection.

A Closer Look: State of the State

State of the State, artwork by Miles Davis of Massive Burn Studios

When traveling from show to show, we often receive comments and questions regarding our artwork. Although ultimately, the meaning behind the paintings is up to the viewer, we’d like to use this segment to offer up some insight into a few of Miles’s paintings. Learn more about your favorite Miles Davis paintings straight from the artist. Have a further question? Have your own meaning? We’d love to hear it. Feel free to leave your comments below.

For our inaugural post, let’s take ‘A Closer Look’ at “State of the State,” a highly-acclaimed painting from the latest series of political works. Miles explains his painting below.

State of the State


State of the State, artwork by Miles Davis of Massive Burn Studios

State of the State was a culmination of a sketch I roughly designed about a year prior to executing it on canvas. It is the same composition as another painting I had done a year before called “Laughter & Laments.”

The emotional context for “State of the State” was based in fear and hope. At the time of the sketch, I was weary of the stability of our country. It was when the US Congress was, in my opinion, holding the country and the current administration hostage with their uncompromising ways with the debt ceiling, resulting in the United States having its credit rating dropped. This created a media firestorm that ignited deep-seeded fears in the young adults around the country. There we were trying to start our adult lives, live out our dreams and make our way into parenthood and home ownership, but the Media would have you believe that our country was falling apart. It personally made my anxiety jump a few notches.

Detail displays the thirteen berries, leaves, and arrows represented in the Great Seal of the United States.

I felt portraying Uncle Sam as a Jester being lifted up by “liberty” was a direct enough symbolic approach, while staying true to bipartisanship. The bald eagle and the props utilized with it are based strictly on the actual United States Seal: there are thirteen leaves, berries and arrows symbolic of the original 13 colonies. The all seeing eye of God (or if the viewer prefers, “Big Brother”) is meant to draw the viewer in closer so they can take in the immense detail work throughout the painting, including fear mongering headlines stripped out of various newspapers and collaged in the background. Enjoy.

For more information about State of the State, click here to visit our gallery.

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