In 2024, I walked through the doors of Boston Dynamics with one question in mind: what happens when a human artist paints one of the world’s most advanced humanoid robots?
My initial vision was clean and direct — a tightly rendered Atlas, perhaps infused with neon… precise technology translated through precise painting.
The painting had other plans.
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There are goals and there are moments. On February 22, 2026, Jack Hughes scored 1:41 into overtime to defeat Canada, 2–1. This victory delivered the United States its first Olympic hockey gold since Miracle on Ice.
A defensive zone poke check. One flash of speed. An incredible forecheck. A tape-to-tape pass. One perfect release.
As an American hockey player and lifelong fan, to say I was profoundly moved would be an understatement.
I grew up watching and rewatching the Miracle on Ice (“Again!”). Moreover, it was the defining American hockey story, a moment so powerful it transcended sports.
It became part of our national mythology.
Exactly 46 years later, to the day, Hughes created a new icon for American hockey: wrapped in the flag, fist raised, front teeth missing and overcome by what had just happened.
I knew immediately — I had to paint it.
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Masters week has become a quiet ritual in the studio.
What began in 2020 with Golden Bell has evolved into a long-view study of Augusta National… one hole at a time. Eighteen years, eighteen greens. Each approached not as an image, but as a problem of space, light, and consequence.
For 2026: the fourth hole—“Flowering Crab Apple.”
A par three that reveals itself slowly. From the tee, it feels open. Generous, even. But the closer one looks, the more it narrows. The green sits in tension, held in place by contour, contrast, and restraint.
The aim was to build that tension—to create an amphitheater where the green holds the eye, and everything else recedes into pressure.
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This is not a portrait concerned with likeness, tribute, or nostalgia.
It is concerned with interruption.
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Borbay Studios & Gallery is delighted to introduce the Borbay Equity Pricing Model. The BEPM allows collectors to acquire, and own, an original Borbay painting for 10, 20, or 30% below market rate.
In exchange, Borbay will retain like equity in the painting(s) acquired. The basic terms of this engagement are as follows:
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Introducing the largest canvas painting of my career, “Turned Myself to Face Me” — a 52.5″X94.5″, Acrylic on Belgian Linen partial collage-painting portrait of David Bowie.
This work began on January 10, 2025, and was signed on November 2, 2025. Bowie tested everything I knew about painting, and became the catalyst for significant creative and professional growth.
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For Year Seventeen in my 20-Year-Guggenheim series, I returned to 89th Street and 5th Avenue to paint on-location. Once again, the vibes, energy, conversations and weather dictated the canvas… my reason for creating on-site.
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There are eighteen greens at Augusta National — I’m painting each one. Beginning in 2020 with “Golden Bell“, I’m delighted to share the sixth works in my “Masters Series” — “Flowering Peach”, hole #3 at The Masters.
I celebrated Rory’s magical victory, with a painting showcasing a labyrinth of thousands of individual hand-painted swirls, following two pointillism-focused works.
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Jerry Seinfeld is a fan of “the”. Not wanting his writers to waste time coming up with titles… a simple equation was established = The + Situation.
In “The Letter”, Episode 21, Season 3; Jerry’s girlfriend paints a portrait of Kramer. The result? ‘The Kramer’. And so, my painting, based on a painting created on a show about nothing, is titled, ‘The, The Kramer’.
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Twenty-four years ago, I found myself wandering the Museum of Fine Arts Boston. There, I encountered many magnificent works from the usual suspects… Picasso, Stuart Davis, Pollock, El Greco — by all accounts, a nice little Saturday.
As I dove deeper into the collection, I stumbled upon “The White Hat” by Jean-Baptiste Greuze. This work stopped me dead in my tracks. The painting itself was magnificent. The brush strokes, the tonality, the chiaroscuro. Her gaze is both seductive and haunting. Painted around 1780, history maintains this figure was a figment of the artist’s imagination… an invented woman. I reject this notion. She struck me as real. Visceral.
Free-flowing, revealing outfits were en vogue in the late 1700’s… yes, and still — there is a staggering vulnerability on display. A salacious Mona Lisa of sorts. And so, 24 years later, White Hat found her way to my easel in first Minnesota, then Idaho, and became Re-Mastered.
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