On Zion's Mount

These are the first prints I've ever offered, all from a personal series I completed this year called "The Voice of One Crying in the Wilderness."

The show I held here at my studio was a defining moment for me, and the highlight of it all was the day before the advertised opening. At that last minute I decided to open the studio to my friends and neighbors for a quiet Sunday afternoon show. The titles and the prices weren't up yet, so it was just the paintings and some quiet worshipful music, and truly it was one of the sweetest moments of my art career.

Nobody talked to me that afternoon about colors or values or edges or paint, they didn't see any of that, all they saw was Jesus, so we talked about Jesus! I think it’s because most of them weren’t artists or collectors and were pretty new to fine art, so they weren't blinded by the paint itself the way those of us who’ve been around art a long time tend to be, but the reason isn't important, what matters is that afternoon, for perhaps the first time in my career, I felt like I was able to get myself out of the way—and it was magic.

I could see then (and I still see) all of the imperfections in these pieces, but suddenly none of that mattered. I was overwhelmed with a deep feeling of peace, I knew that ‘His grace was sufficient’ for me, that He saw me, the He loves me, and that He really doesn’t need me to make perfect paintings (whatever that means)— He just wants me to keep trying to love Him and love my neighbor, and He’ll make up the massive difference that’s sure to be left. :)

I know better now than I ever have, that God can use us in spite of our weakness and imperfection. Like the master artist who paints pure magic in spite of inferior brushes or canvas or paint: God doesn’t just put up with weak instruments, He chooses them every time. I pray God will help me to remember just how weak I really am—so He can use me.

I spent the summer working with Rich Linton to adjust color values and temperatures in order to make them 'feel right.' It was a tedious process and Rich is probably sick to death of me but after what feels like about a million test prints I'm finally happy with the color and I hope you are too.

Reproduced from the artist's original artwork of Oil on Board 15 x 15. Painted 2024.