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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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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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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During my commute to and from Borbay Studios & Gallery, I often promise to — “get out there and capture Teton Valley’s beauty.”
With my eldest daughter Coraline home-schooling, I found that very moment. As for the location? A generous offer from my good friends Andy and Lisa Daniels presented itself. They allowed us to set-up and paint their breathtaking view of the Teton River.
And so, I set out to challenge myself to create a 40″X48″ painting from life, crafted with a palette knife and loads of Liquitex Heavy Body Acrylic Paint.
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For the 16th work in my 20-Year-Guggenheim Series, I re-visited to the streets of New York to paint on 5th Avenue.
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It began with Amen Corner… last year, I went back to one… this year, I painted the second green at Augusta National. Typically, I begin during the first tee shot, and sign when the final putt drops. This year, I had the great fortune of playing a Member Guest during The Masters… and so, I was forced to finish post-tournament.
Virgo mentality — forgive me!
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