Zooming in to look at specific details that do or do not work is the next step for me. When optimizing a process in chemical engineering, the devil is in the details. For example, If a pipe is feeding pieces of equipment toluene, a highly toxic and dangerous liquid, are all the safety systems in place? Is the piping grounded so no sparks will occur? Is the area around it in the facility designated a space where people must wear shoes with static guards in them? Are shut off valves (note plural!) easily accessible? For just this short piece of pipe, hours of deliberation will take place in the design to make sure there are at least three layers of safety contingencies. Then there will be meetings about how to make sure the process is safe. We'll make sure there is no water getting into the toluene, no places where water could gather and freeze (like a heat exchanger upstream or downstream) and block flow, etc. Further discussions will make sure the environment is safe. How is the toluene handled after it has served its purpose? How are pipes and equipment safely cleaned? 

 

You get the idea. The zoom starts with looking at each of several important parts from different perspectives. 

 

In the creation of art, I do the same thing. I literally zoom in, using a 10x magnifier. I am looking for subtle transitions. By that, I mean the change from one value to another, or the change from one color to another, are smooth and seamless looking. I look for realism. If an object is round, are the edges soft? They won't look real if they are hard. Are the contrasts strong where they need to be and minimal where I do not want to draw attention? Often, I will saturate or desaturate areas of the work, depending on where I want to direct the viewers' eyes. I will reinstate the shadow shapes, to be sure I have captured an accurate likeness. 

 

These are the important parts of my artwork that I look at from different perspectives when I zoom in:

 

- transitions between colors

- edges

- contrasts

- chroma

- notan

 

If you notice, it's a lot of what I do in a zoomed out context, only here I am doing it one square inch at a time. I tend to lose track of the entirety of the project at this time. I'm not thinking about all the steps or even the subject. If it's a painting of an apple, this is where I don't care that it's an apple. It could be anything. I only care that the one square inch I am working on goes from green to red hue in a way that values and chroma and everything come together in the most realistic way possible. If I make my green brighter than my reference, I better keep the values the same, or my apple will look like it has a bulge or a dent. These are the sorts of decisions I make while zoomed in.

 

Another thing I am looking for while zoomed in is surface texture. I love to use impasto to accentuate specular highlights, areas with a lot of rhythm like splashing waves, fur, lace. I do not want any texture whatsoever in my shadows or in the depth of my field. These will detract from the realism I am trying to achieve.

 

Finally, this is the step where I assess if I need more or less detail in each part of the work. Sometimes, I can lose edges or leave details blurred, and it actually enhances the realism in my renderings. Other times, parts will look woefully underdeveloped under magnification. This is the place where I sort those decisions out.

 

Stay tuned for next month's issue of this blog, where I talk about finding the what, why, where, who, when, how. These are the questions I asked for every engineering project I was involved in, and I ask them today for every artwork I attempt.

 

 

In my former life as a biochemical design engineer, we talked about systems and system boundaries. This was just a fancy way of saying, we needed the context of what we were designing. 

The boundaries were simply the data points where different steps interfaced. For example, you might have a lonely little fluid molecule at 50 degrees F, atmospheric pressure, and less than 30% saturation, cruising along at 1.2 gallons per minute through a four-inch pipe. All that thrilling data informed you as you designed the next phase. You knew exactly what to expect, how massive your equipment needed to be, and what size vents would keep everything from going sideways.

Fast forward to today. When I step back from my easel to look at a painting or drawing in its entirety, I am doing the exact same thing.
Only instead of calculating pipe friction, I’m using my peripheral vision to see what values and color shapes actually catch a viewer's eye. I’m assessing whether the data that crossed over from my reference photo into my artwork resulted in the performance I wanted. Is something overwhelming the system? If a highlight is flooding the canvas, I need to make adjustments to capture the spill. Or, I need to tone it down so the viewer doesn't need sunglasses. Just because my reference photo features a blinding, soul-crushing glare doesn't mean it deserves a starring role in my oil painting. Or, maybe it does and I should surround it with lamp black to get the most intensity.

Another way this engineering analogy applies is how I compare the art to its presentation. I am constantly playing with backgrounds and frames. Sure, a subject might look stunning in baby blue against a fuchsia painted stucco wall in real life, but that doesn't mean it translates well into 2 dimensions. For a variety of  reasons, I would likely lean into a rust-colored background instead. Depending on how much I want to manipulate the viewer's attention, I probably wouldn't even fully render the texture of the wall. These are decisions best made from a zoomed out perspective. Things that are impossible to see when you've got your nose pressed two inches away from a magnifier as you create, become obvious when you step back.

So, what do I mean exactly by "zoomed out?"

Well, it’s more than just standing back and squinting at the canvas (though that’s part of it). When I zoom out, I deploy a few specific diagnostic tools:

 

Orientation:  I turn the art on its side and upside down. I look at it in a mirror. Our biology is always correcting when we look at things. Sometimes it's surprising how much the brain works to make wrong things look right. Google the "Thatcher Effect" if you want to see how creepy this can be!

 

Peripheral Blurring:  I focus on something just outside the art and just outside the reference, then compare the impressions. Miraculously, gross errors in shadow shapes and color contrasts leap out at you when you stop staring right at them.

 

Triangulation: I pick two points in the artwork and draw an imaginary line between them. Then, I pick a third point off to the side, forming a mental triangle, and compare the interior angles against my reference. It is a ruthless, foolproof check on overall draughtsmanship. It’s shockingly easy to convince yourself your drawing is accurate until you triangulate and realize your subject’s ear is apparently trying to escape the buzz cut it is surrounded by.

 

The Squint Check: First, I squint to ruthlessly crush distracting hue details so I can check my values. Then, I open my eyes wide to color-check, making sure things match between the reference and my creation. That is, unless I've made a conscious, artistic decision to change them (because I'm the boss of the studio). All of this gives me major flashbacks to my engineering days, back when I used to mentally walk through piping and instrumentation diagrams wondering where dust or condensate was going to collect, which valves were going to be impossible to reach, whether everyone could escape in an emergency, or if the room airflow needed adjusting. You get the idea: don't build the whole factory without checking if the roof fits.

Zooming out lets you finally see the forest through the metaphorical trees.

Stay tuned for next month's article, when I zoom completely the other way to obsess over tiny details! If you are enjoying these ramblings, please leave a comment and let me know how they are helping you in your own creative pursuits.

 

The Engineering of Realism - 2. Quality / Cost / Time Triangle of Optimization

 

Our artistic process is only as fast, good, or affordable as its weakest step. In engineering, individual steps in a manufacturing process are called unit operations. To optimize your studio workflow, it helps to look at these operations through the lens of efficiency.

Imagine each step of your creative process as a link in a chain. The time, money, or quality of each step determines its strength.

 

Let's focus on Time. The speed of your entire process is dictated by your slowest step - your bottleneck. If your longest delay is waiting for an oil underpainting to dry, that is the link holding back your momentum. To optimize, you brainstorm questions:

 

Can I use acrylic paint for the underpainting instead?

 Can I introduce an alkyd medium to speed up dry time?

 

Then, research whether any of your ideas can be implemented. If you make that change, that step is no longer your bottleneck. The title of "longest step" now moves to something else, like planning the composition. You then tackle that link: 

 

Can I read composition books or use digital thumbnails to speed this up?

 

Eventually, you will hit a baseline where you cannot shorten the steps any further. But by doing this exercise, you now know exactly which operations hold the most leverage. You can keep an eye on them, and when new technology or better supplies become available, you re-evaluate.

The Three Attributes of the Triangle of the Optimization Triangle 

While you want to shrink the time and cost of individual steps, you want to do the exact opposite for quality. This brings us to the classic engineering trade - off called the project management triangle.

 

Whenever you adjust one side of the triangle, the others must react. It is rare to improve all three at once. Typically:

• Increasing Quality requires an investment of more time, more money, or both.

• Decreasing Cost usually sacrifices speed and overall quality.

• Decreasing Time almost always reduces quality or requires a higher budget.

To master your personal triangle, look at these three attributes with nuance:

• Time: This isn't just raw minutes; it’s about friction. Differentiate between time spent doing what you love versus tedious tasks. For instance, a rock tumbler takes days to run, but because it operates passively in the background, it doesn't drain your personal time or energy.

• Quality: Measure this by the metrics that matter to you - archival properties, technical prowess, storytelling impact, or the elegance of your materials.

• Cost: Cost isn't just currency. Think of cost in terms of all your limited resources, including studio space, physical stamina, and the impact of materials on your health.

Operating at Your Best
The goal is to finish with a well-defined triangle and a studio process where every single step is as optimized as it can be for right now. Because your life and goals change, it’s worth revisiting this framework regularly to see if new circumstances warrant a thorough re-optimization.

 

If you treat your art process with the same strategic care an engineer brings to a manufacturing line, you will always operate at your peak. It doesn’t guarantee an automatic masterpiece. But, it ensures that far more amazing things have the room to happen.

 

The Engineering of Realism - 1. Defining the unit operations and system boundaries

 

What does a chemical engineer mean when they talk about defining the unit operations and system boundaries?

 

Well, it's figuring out what the whole project looks like, where it stops and ends, and then breaking it down into separate steps that you can evaluate and optimize, to make everything run more efficiently.

 

For me, when I approach a painting or drawing with this mindset, it looks like this:

 

1. What are my system boundaries? 

- subject

- narrative 

- focal point

- composition

 

If I am painting a landscape where the place that a stream meets the horizon is the subject of my story, I am going to put lots of contrast and highlights in the horizon line. This is very different from if I am painting a pet portrait, and I need to make sure all the fur is arranged just like the owner is used to seeing it in their dog (it's part of the likeness) but I also want the story to be about the playfulness of the pup, so I need to be sure the focal point is its eyes that are depicted in such a way that the "smile" with highlights and proportions just so.

 

Every artwork has its own set of system boundaries - things that determine how I make decisions as I create the piece, from beginning to end. These are non negotiable, and I lay them out at the start of every commission. I can't mess with them. They are the framework for the piece I am drawing or painting.

 

2. What are unit operations? They are the individual steps in my process. Each one can and will be optimized. Each one has a beginning, an end, and a duration length that can be improved upon. Each is essential to the end result. I think of it like a chain. Each of the links serves a purpose

 

- composition

- drawing

- undertones

- notan

- local color

- turning form

- details

 

Composition: This is determined in large part by the story I am trying to convey. I need to identify the focal point, the number of elements in the artwork, and whether I will be using bold or subdued color. Of course, much more goes into composing an artwork, but you get the idea. If I am working on a commission, this is where I check in with my collector for approval. If I am painting for a venue, I check in with myself and do a little role play, as if I am a collector. Either way, the goal is to solidify proportions, design and colors before I proceed.

 

Drawing: In my practice, I create a drawing with the sole intent of transferring it to my panel. I can make mistakes, changes, and even add or subtract things as I draw. Then, once I feel I have a good representation of the composition, I transfer just two things to my panel from the drawing. 1. Contours and 2. dashed outlines of the notan. In this way, I transfer what some call a "cartoon" to my panel. It gives me all of the proportions and important transition points I will need to paint or draw.

 

Undertones: These are the colors that are underneath the colors you first identify when you look at an object. Without them, nothing looks real. It looks like a Pixar animation. So for example, a banana is yellow. That is the local color. The undertones are the browns and greens that are hiding under the yellow. We see them, but we don't usually say them when asked what color we are looking at. I identify the undertones, and often I will lay them down in an exaggerated fashion, to make sure they don't get lost as more layers of paint are applied. 

 

Notan: This is a Japanese term that means black and white. It is the dark side and the light side, the parts of every form on either side of the terminator. Nothing on the light side is ever darker than anything on the dark side. Photographs don't live by this rule. But when we "simplify" our notan, and stick to the lit side/dark side unit operation, everything looks so much more realistic. The more we can create masses of light and dark in our work, the more realism we achieve. This is the whole concept behind chiaroscuro.

 

Local Color: This is the flat, single value color layer that I apply on top of the previous unit operations. In this step, I am acknowledging the yellow of the banana, the flesh color of a human, the green of a landscape. I think of this like a paint by number. Each shape has a color associated with it. 

 

Turning Form: Here's where the fun begins. This is where things start to look real. In this unit op, I begin to turn form in two ways. First, I use value. This doesn't mean I just add black to darken things. In fact, burnt umber is my darkening agent of choice, because it has warm and cool pigments in it. You have to think about whether your shadows should be cool or warm, to deliver the highest level of realism. Secondly, I turn form with color. Every round object on the planet displays alternating warm and cool hues, as you travel along the curves in its form. A white sheet on a laundry line on a sunny day has pinks, blues, yellows and purples in its folds.

 

Details: Finally, and this can be several layers of paint, I work on the details. This is where I add specular highlights, I make sure transitions of value and color are smooth, with no breaks. I evaluate edges to be sure they are appropriately sharp or soft. I actually work under a 10x magnifying glass. For me personally, I am NOT trying to eliminate topography and create art that looks like a photo. I actually want my art to look better than any photo I could ever take. So I use every tool, including texture, exaggerated chroma, value and hue, contrast, etc. to achieve my goal of the most realism possible.

 

Many artists use these same system boundaries and unit operations, even if they don't call it that, or think of them the way I do. Most of us do not employ them the same way. Some of us use bold color and some some stick to pastels. Some of us use the full value scale, and some compress it. We all have our own way of doing things.

 

But, by approaching each artwork I create in this manner, I have the foundation for the next steps I will discuss as I embark on my monthly blogs about engineering realism in my art journey.

 

Thank you for joining me on this adventure!

 

I’m feeling called to write a blog about solving aspects of oil painting from an engineering perspective. It was another lifetime and a different century when I was the lead design engineer for multidisciplinary teams to build manufacturing facilities for biotech startup companies and then for Eli Lilly and Co. I have a degree in biochemical engineering from The University of Michigan (BSE Chem E, bio option is what they called it in 1983.) Go Blue!

The transferable skills from my engineering past have served me well in crafting this life I live now, as a professional master fine artist with art in private, museum, corporate and government collections, and a long resume of accomplishments. I share these with students in my workshops and with patrons at my live demonstrations. But I have never grouped them all together in a cohesive document.

Over the next ten months, I commit to doing just that. My hope is that by sharing what has worked well for me, the artists who choose collaboration over competition will find some of these tools useful to their own art practices.

Thank you for reading and for your positivity and sharing in the comments. Wishing you all a day full of blessings and beautiful art, as I craft these topics for the coming months:

1. Defining the unit operations and system boundaries

2. Addressing each unit op for the quality/cost/time triangle of optimization of efficiency - Our process is only as fast or good or cheap as the weakest unit op

3. Zooming out to look at the bigger picture/context

4. Zooming in to look at specific details that do or do not work

5. Pinning down operations based on what, why, where, who, when, how

6. Devil in the details - 3 levels of safety in design, back up plans

7. Dealing with system failures and emergencies

8. Implementing regular reviews and upgrades

9. Review track record and experiences. Measure against changes in current trends and requirements. Identify what is sustainable and what is not

10. Never be complacent. That is when disaster strikes. Don’t get too comfortable when all is running smoothly. Engineering teams are required even when all is automated and working good

I am a contributing author for Fine Art Studios Online, a blog hosted here on the FASO.com platform. I highly recommend this blog, focused on providing quality art marketing and sales information for artists. Click HERE and also HERE to see other articles I have previously. I've been writing them since October 2022. Scroll down to see the latest articles.

 

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October 2026

 

 

Be Worth Your Salt to Customers

 

All of us have to earn our successes. Okay, some get lucky and we are all legally required to be jealous of them. But for the majority of us, accolades don’t just rain down upon us. We have to put in the work. It’s mentally and physically exhausting work, too. It’s a lot harder to be an artist than people realize. I am a painter, and every time I haul work to and from a show, I thank the gods I am not schlepping ceramics or heavy bronzes. After a long day at the easel, my strained eyes grow more cataracts, my back requires ibuprofen and my hands reach for the arthritis cream if I’ve been drawing.

 

So, after all the effort, it’s natural to expect an immediate reward. Unfortunately, that’s not the norm for me. I’ve come to realize that the only way to get ahead in the art world is to think long-term. I play the long game like Amazon. They are not making money on next day delivery. Usually, I don’t even need next day delivery. But I keep buying from them, because I really do enjoy the convenience of their next day delivery.

 

Customer service for collectors AND students is everything. I treat each transaction like it’s my first and my last. I imagine 30 years from now. What would I wish I had done today? Then, I do it. I’ve shared before that I focus on experiences rather than just sales. Because of this, other artists often look at my business practices and tell me they could never do what I do. For instance, there have been times when I’ve taken on a commission, shared my pricing, and told the client they can pay whenever their finances allow, even if it takes months or years. I only do this when I’ve built a genuine relationship of trust with someone facing a tough economic patch. And you know what? Not a single person has ever stiffed me.

 

My point is, excellent customer service has to be tailored to not just the buyer, but also you, the seller. If you do not have the flexibility to offer payment plans or layaway options, then don’t. Find another creative way to make the transaction special and convenient for you both.

 

We all love to say if you build it they will come. Paint and create what you love, not what you think will sell. You’ll attract the audience curated just for you. But if we don’t step up and cater to the needs of that audience, they won’t be around for long. You can be the best artist ever, but if people remember anything annoying about their purchase from you, they are not likely to come back again. Worse yet, they won’t tell their friends about how wonderful you were to work with.

 

All else being equal, I truly believe customer service has to be THE number one thing that separates the top selling artists from the starving ones.

 

As always, please drop your thoughts in the comments, but here are a few practices I’ve developed over the years that earned me glowing testimonials. These apply whether you are selling original art, running a workshop, booking a commission, or interacting with anyone you want to be speaking highly of you (the best advertising out there).

 

1. Communication

It’s so important to explain your process at the start. Provide work in progress updates for commissions. Give buyers estimates for shipping dates. Be upfront with extra costs like framing, taxes and shipping expenses. Thank them for choosing you. Also, answer messages and emails within 24 hours.

 

2. Invoicing

Make payment expectations crystal clear from day one. Provide an invoice for their records, featuring your business name and contact information, as well as available payment methods. This can serve for any insurance issues they encounter, as well as a certificate of authenticity if anyone ever needs to show provenance.

 

3. Packaging

Wrap art securely, so it looks professional. I like to make it look and feel like a gift. I often use melting wax and a metal stamp of my signature to seal the package, and I always add a handwritten thank you note. I usually include an image of a recent painting, and a few coasters with my website printed on them. Everyone can always use another coaster or two.

 

When shipping, pack the art so nothing shifts an inch inside the box. Always confirm the shipping address, ask if a signature-required delivery works for them, use brand-new professional boxes, and send tracking details the second it leaves your hands.

 

4. Satisfaction guarantee

Decide what your business can comfortably promise. I offer a 100% money back guarantee. For this reason, I rarely ask for an initial deposit. I would refund it if they were unhappy. In fact, I rarely accept payment until they see the art in person and confirm they love it.

 

5. Fixing Issues

Fortunately, I haven’t had many issues in these several decades of selling my art. But when things go sideways, I fix them as fast as I can. If a painting is lost in transit, I repaint it. If a frame is not what the client expected, I replace it. Even in instances involving exceptionally demanding or difficult personalities, where it ultimately turned out the mistake was entirely on their end, I kept my tone relentlessly kind and patient, going to great lengths to make them feel special.

 

6. Be Creative

I am always trying to find ways to make transactions more memorable and pleasant. If the buyer is local, I will offer to personally deliver the art. If they can’t be home to sign for the package, I can offer to ship to a post office or FedEx office. If I know a client settled for a smaller size strictly due to budget, occasionally I will surprise them by upgrading to a slightly larger work, or offer a clever discount on an unframed piece. These little touches are what turn a casual buyer into a lifelong collector.

 

7. Include the Story

If I have them, I include a letter detailing the exact inspiration behind the piece, early thumbnail sketches, and photos of the artwork in progress. People love to get a peek behind the scenes on their purchases. 

 

Having said this, I have learned to avoid offering work in progress photos while creating. This has ended in disaster every single time. People will provide input if you do this, and I never end up with as good an artwork when I shift gears mid stride.

 

8. I always include my website link in communications, and customers can choose if they want to sign up for my newsletter or new art alerts. I mention these once in passing during our transactions, but I am careful not to hard sell them.

 

What are your go-to customer service strategies? Let's chat in the comments.

 

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September 2026

 

 

Who Influences You?

 

One of the things I hear myself saying often, is “Be careful who you take advice from.” Many times when I wasted my resources, it was because I didn’t fully vet the source of counsel I was following. Don’t get me wrong. I still learned from those regrets. I just wouldn’t repeat them if I had a redo.

My FASO Way article from last month got a score of 57% on the AI checker software Clint uses to make sure everything on his site is original. Imagine my surprise!

My first thought was - Did I use google AI like I sometimes do, to pick a title for that one? I checked. Nope. It’s the same title I started with in the draft on my phone’s Notes app, before I ever pasted words into Pages on my desktop. Did I use AI to rephrase any parts of it? Not to my recollection. Sure, I've leaned on google searches occasionally when my brain refuses to supply a synonym, and I'm repeating the same word for the fifth time. But if I did that last month, I don’t remember. I'm sure I never asked an AI app to write my article. Why then, did I rate a 57%?

 

There are only two rational explanations. Either I am becoming so deeply influenced by whatever I am reading that I am starting to write like a bot. OR, AI is stealing from ME!!! Who’s assimilating who? I’m not a conspiracy theorist, but the latter seems more comforting to me. I mean, who wants to admit that robot brains are getting so good they are quietly hijacking our internal monologues?

I don’t know what the AI checkers scan for, and I have no idea whether I am suddenly getting better at grammar and punctuation, or sounding less human because I am becoming more nerdy every day. Whatever it is, I am now wondering if I care.

Can we even escape outside influences? Should we try?

Recently, I realized that while I paint a lot from imagination, I definitely have been composing lots more pieces with peeling paint and wallpaper. I am sure it’s because I love the art I am seeing online where things are bursting out of walls and canvases. Those compositions are popping up everywhere, from different artists. I’m guessing they are AI inspired, but I like them.

 

So, if those trends inspire me and I start painting them too, is that a terrible crime? I'm not using AI directly to generate my work, but I am certainly absorbing it on a subconscious level and letting it alter my behavior.

In the past when I have talked about being careful who you take advice from, I meant direct human relationships. But now, I’m wondering how careful we should be about the suggestions that seep into our brains in sneakier ways too.

I live an hour from Washington D.C. so it’s practically impossible for me to remain completely oblivious to politics. Yet, I have a shield up to protect myself from the sheer toxicity of engaging with any of it, because I know it depletes my artistic soul. As more and more of our creative outputs get judged, measured, and run through algorithmic filters, should we all be putting shields up on what we create? Whether it’s writing or drawing or painting, I go back and forth on believing AI and other outside forces to be a net positive or negative. Certainly, I think that the healthy recipes and aerobic exercises that keep popping up in my social media curated feeds and ads are helpful. I go down those rabbit holes regularly.

But what about all the art shows I enter? Will they start rejecting my peeling paint pieces because they bear a passing resemblance to many digital compositions? I have been posting work in progress reels SPECIFICALLY so I have receipts to prove I built every single bit from a blank panel if anyone ever challenges me. Other than that, I’m not even sure how to prove a negative. How do you show you didn't use AI or swipe someone else’s concept? How can I police what happens when I scroll past a thumbnail, file it away in my subconscious, and accidentally regurgitate it in my own style 6 months later? I can’t.

In some ways, it’s a minefield we are living in right now, isn’t it?

For my part, I am choosing to just keep doing what I have always done. I will continue creating from the heart. If a detector slaps a score of 57%, on my work, so be it. Anyone who’s met me walks away knowing there is only one of me. Whatever I absorb from outside, I have to trust that my shields are working, and it’s the good stuff that gets through them!

Have you encountered any situations where you have been compared to an algorithm, or even another artists’ work? If so, how certain were you that there wasn’t somehow a little bit of unavoidable subconscious assimilation going on?

P.S. Unless the person in charge of this video game we call life is messing with me, I better score a zero on this month’s AI check Clint. I made sure Google and all the other tabs were closed while writing it!

 

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August 2026

 

 

Help!

Artists need to stop self-sabotaging. We shouldn’t be afraid to ask for help, and we need to stop treating modern tools like moral hazards.

In today’s creative zeitgeist, we are bombarded with an exhausting amount of artistic dogma. We are told there is a "right" way to create, approved venues to exhibit in, and that using certain tools is somehow "cheating." And naturally, there is always a new panic on the horizon. Consider AI right now, which plenty of people are convinced is about to derail the entire art world.

 

I’m not here to champion every controversial tool under the sun. I just think we occasionally forget to apply common sense to these discussions. Personally, I paint and draw in a deeply traditional way, yet I rely on photography and modern paints and sealants. The truth is, we should all have the freedom to look at everything in the toolbox, decide what is genuinely useful to us as individuals, and create without the dead weight of moral judgment.

 

Way back in the day, sharing your process was considered professional suicide. Old-school artists guarded their techniques like state secrets. We’ll never know the exact alchemy behind some of their effects, but let’s be honest. They weren't working in a vacuum. They were using every hack they could get their hands on:

 

Vermeer’s Camera Obscura: The 17th-century version of a projector.

Workshop Apprentices: The original multi-tasking assistants.

Indentured Servants: Let’s just say labor laws have improved considerably since then.

Questionable Pigments: I’m looking straight at you, Mummy Brown.

Grids, Plumb-lines, and Nails: The analog ancestor of the perspective tool on your photo editing software.

Graphite Offsets: A brilliant little hack made by pressing damp paper over a raw graphite drawing, to make prints.

Photography: Long before our digital age, daguerreotypes replaced some portrait paintings and assisted artists in executing others.

If a master artist from 1650 walked into your studio today, they wouldn't be offended by a projector or an AI app. They’d just be annoyed that they didn't have one.

 

However, pearls were made to be clutched. Think of the things today’s artists love to panic over:

 

AI Apps: The new digital frontier. Could you use one to brainstorm compelling titles or punchy descriptions for your art without breaking any ethical codes? Absolutely.

Assistants: The modern evolution of the workshop apprentice. Would it change your life to hire an intern to handle your social media campaigns so you can actually stay in the studio?

"Vanity" and Co-op Galleries: The alternative to high-end gallery gatekeepers. Can we reframe these not as desperate measures, but as joining a team of ambitious peers to make things happen?

Social Media Alliances: Digital barn-raisings. Why not coordinate with peers to lift each other up and achieve some marketing goals?

Photo References: Because squinting at a subject for fifty-six hours is hard on both the artist and the model. I am personally so tired of the old trope that painting from photos is somehow inferior to painting from life. It’s a choice, not a moral failing.

Paid Ads and Features: Everything is monetized today, which means marketing always comes with a spin. Some complain about the cost of being seen, but if paid reach fits your budget and actually connects you with your target audience, it’s just a smart business expense.

 

Instead of digging our heels in and resisting change, what if we used our natural creativity to integrate these tools in ways that actually enhance our art journeys?

 

And while we’re at it, can we finally put the myth of the Lone Wolf artist to rest? Why are we so allergic to asking each other for help?

We are living in a golden age of information. You’d be hard-pressed to find a single proprietary art technique left. Yet, many of us still act like we’re guarding the location of the Holy Grail.

 

Why not change the script?

 

Form an alliance with a peer to curate your own indie show.

Swap honest intel on which art societies and show experiences actually worked for you.

Admit that you don’t know how to edit a reel and ask a younger (or just more caffeinated) friend for a tutorial.

 

So often, it seems we are quicker to give up, or play the victim, than to explore the simple assistance right in front of us. If there’s one area where you need to be tenacious, it’s this. The artists who never give up on finding what moves them forward are the ones who find the success they’re looking for.

 

My parents’ generation often viewed asking for help as a sign of deep-seated weakness. But as I’ve aged, I’ve realized the opposite is true. The further you go, the more help you need. It’s simple survival. You observe what works for your peers, you steal their best ideas legally, you avoid their lethal mistakes, and you keep your brushes moving.

 

Collaboration has been the secret sauce of my own career. Organizing traveling shows, appearing on podcast interviews, saying yes to helping others, actually asking for help in return… This behavior has enriched me far more than any solo endeavor ever could.

It turns out art isn't just about what you produce. It’s often about the people and resources you meet while you're producing it.

 

I want to hear from you in the comments: What is one "controversial" tool you use and love, or one time you reached out for help and it actually saved your sanity? Tell us your stories. It makes the whole community better.

 

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July 2026

 

 

Step Back, Focus Your Lens, and Claim Your Niche

 

What do you do that makes you a little different from all the other artists?

 

In my own quest to focus my art career and use my limited resources efficiently, I decided to do something a little counterintuitive. I went smaller when the world started feeling bigger.

 

Instead of trying to be everything to everyone, I zeroed in on the sharpest aspects of my skill set. I create oil paintings and charcoal drawings, I work in tightly rendered realism, and here is the kicker. I specialize in miniature and small works.

 

Now, maybe miniatures aren't your thing. Perhaps your focus is western art, abstracts, portraiture, scapes. Maybe you’re the undisputed king or queen of a very particular medium. At a photo shoot once, I spent several days with Robert Hagan, a fun and amazing artist who paints larger than life multi figure pieces. He spent much of the time talking about all the virtues of painting large works. Whatever your passion is, there is a proven marketing fact we all have to face. The fewer specialties you promote, the easier it is to build a brand people actually remember.

 

We all have areas of expertise that pull us in. For me, it’s a deeply rooted, borderline obsessive love for miniature fine art. And before you think this is just a modern gimmick, it actually has a rich, beautiful history. We’re talking about the medieval scribes who pulled all-nighters illuminating manuscripts by candlelight during the Dark Ages, and the European masters who rendered intricate, pocket-sized portraits.

 

Today’s miniatures are a bit more modern, spanning almost any 2D or 3D medium. If you want to play in this sandbox, the general rules of thumb are:

 

Paintings & Drawings: 25 square inches or less.

Sculptures: 8 inches or less in any direction.

Subject Matter: 1/6 life-size or smaller.

 

Outside of those boundaries, the sky is the limit. Both representational and abstract art are welcome, and the community is fiercely international.

 

If you've never considered going small, let me shamelessly attempt to convert you. Here is why I put so much love, energy and resources into painting in little:

 

Incredible Sell-Through Rates: Generally, at least 1 in 3 pieces sell in any given show. In the art world, those are beautiful odds. My larger works are in up to 10 show venues before they sell, in most cases.

Low Overhead: You can ship an entire exhibition’s worth of inventory in a single box. Framing, shipping, and supply costs are delightfully minimal.

Space-Saving: The studio space required to create them is wonderfully tiny. You don't need a warehouse. A well lit table from Costco will do.

An Amazing Community: Miniature artists are a tight-knit, incredibly supportive group. You see the same friendly faces at exhibitions, making it easy to develop deep, lifelong friendships.

The Ultimate Skill Builder: In my experience, wrestling with edge control and precision on a two-inch surface drastically improves the brushwork and technique I use on larger scale works. It’s precision training for your eyes and hands.

 

I spend so much of my life in this magical corner of the art world that I am overtly trying to recruit you into it. But even if minis aren't your jam, use this as a metaphor.

 

How can you highlight a specific area of your own art experience? Once you identify that thing that is unique in your practice, start brainstorming how to market it. Often, the best ideas have been staring us right in the face. We just didn't notice them until we looked through a highly focused lens.

 

For example, have you noticed the "Free Little Art Galleries" popping up all over the country? They look like the tiny libraries people put on stilts in their front yards, but they’re packed with palm sized art. The rule is simple. Take a piece, leave a piece. What a brilliant, low stakes way to advertise, clear out those little alla prima studies you consider giveaways, and get your name and art into the world. I follow several of these on Instagram, and the creativity is infectious.

 

You just never know where brainstorming a specific genre might lead you.

 

With that said, if I have managed to spark your curiosity about the miniature fine art world, I highly recommend these three fantastic international exhibitions:

 

1. The Miniature Art Society of Florida (MASF) International Exhibition

This is the largest miniature exhibition in the world. I had the absolute honor of judging the show in 2025, and we saw over 600 stunning entries competing for 64 awards. Visit their website to see the sheer caliber of work and check out what sold or won.

 

The Logistics: Keep an eye out for the entries to open in August, with a late September deadline for receiving shipped work. You can enter up to 6 works from anywhere in the world. The prospectus is online now.

 

Website: miniatureartsocietyofflorida.com

 

Bonus: Follow them on Instagram, TikTok, and Facebook for announcements. I happen to run their social media, so come say hi!

 

2. The DC Miniatures (MPSGS) International Exhibition

Located in southern Maryland, this is the oldest international miniature exhibition in America, and it is a truly prestigious, beautifully run show. You can enter up to 3 pieces each year. Their website is a goldmine of inspiration where you can see exactly which works took home prizes or red dots last year. The entry form and prospectus are available right now, with an early September deadline for shipped work.

 

Website: mpsgs.org

 

3. Seaside Art Gallery International Miniature Show

Since I am unapologetically plugging the wonderful shows I am closely affiliated with, I have to mention this gem held every May in the Outer Banks. Full disclosure - I served as the judge here a few years back! This show is unique because it is judged, but not juried. This means every single piece that meets the prospectus criteria will actually hang on the gallery wall. It’s a welcoming, incredible opportunity to get your work into a physical gallery. There are 17 awards up for grabs, and the deadline for shipped work hits in mid-April.

 

Website: seasideart.com

 

Whether you want to try your hand at the miniature art, or you are busy carving out a completely different niche for yourself, I want to hear about it. What is the specific space you are claiming as your own? Let’s talk about it in the comments below and inspire each other!

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June 2026

 

 

Creative Detours - Is Getting Lost EVER the Goal?

 

Do you ever look at your business plan and wonder how far you’ve drifted from your original intentions? Are you still on track with the goals you set for your art career?

 

I do this check-in regularly, and I’m often surprised by how much I’ve wandered. 

 

Last year, while working on a fine art curriculum remotely, I spent three months (30 hours a week) on a series of sphere drawings. At the end of the exercise, my instructors noted that the spheres were far too dark. I had to redo the assignment.

 

What happened? The fall daylight savings time change happened. I continued drawing at the same time each day, but it was now darker outside for those sessions. The instruction called for three-quarters of the sphere brightly lit, yet I was faithfully drawing what I saw in front of me. The setup looked the same, but ambient light was different and I simply forgot to adjust. 

 

The same thing happens in our art businesses. Our core goals and intentions stay constant, but circumstances shift. We get absorbed in daily tasks, client work, or new ideas, and suddenly we’re executing something quite different from the plan.

 

The lesson for me is to regularly circle back to the goals and reassess.

 

But here’s the surprising part. Some of the richest growth I’ve had comes precisely when I have strayed.

 

Several years ago, I started a new Trompe L’Oeil series inspired by an exhibition of early 20th-century postcards, Valentines, and ephemera at a Tampa museum. Storytelling has always been central to my work, and this format let me combine narrative with the hyper-realistic illusion I love.

 

Over time, I realized the complex stories I was telling weren’t resonating with viewers the way I’d hoped. The narratives were too layered to land quickly. 

 

I found myself surrounded by fellow artists - many of whom are thriving wonderfully outside social norms themselves - and I still felt like the odd one out. Why weren’t people relating to me? Was I displaying complete nerdom or genius? I was pretty sure it wasn’t genius.

 

After months of reflection, I asked myself  - 

 

What if where I am going, I don’t need rules? 

 

What if I stopped being a slave to my reference material? What if I painted more from memory and imagination, without photo or life references that are typically required to achieve realism? Could I keep my goal of narrative-driven Trompe L’Oeil while breaking the traditional rules I had been taught? 

 

This evolution led to the new series of drawings and paintings I’m working on now. It feels fresh, more accessible, and truer to my voice. None of it would have happened if I had rigidly stuck to my original goals and timeline.

 

What I learned may be of use to fellow artists. Do the planning. Set clear goals for marketing, exhibitions, studio practice, and sales. But leave wriggle room. Chase some of those tangents and unexpected detours. For creatives, a wrong turn might just be an opportunity waiting to manifest.

 

What do you think? Have you ever gone off-plan in your art journey and discovered unexpected success? 

 

I’d love to hear your stories in the comments. Your experiences might be exactly what someone else needs to hear, as inspiration to try the scenic route!

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May 2026

 

Some Marketing Strategy Ideas Worth Stealing

 

We’ve all had to choose how to promote our art. Even choosing not to market it is a decision. Are you like me? Have you listened to more sales gurus than you can count, paid for a few of them, and yet, to this day, find yourself endlessly curious about what actually works?

At this stage in my career, it’s hard to settle on just one system. Instead, I’ve spent years shamelessly stealing bits and pieces from various sources. The strategies I keep are the ones that actually move my needle, knowing that success looks different for everyone.

Let’s be honest. Mastering the business of art is on par with earning a PhD. It takes most of us at least a decade to reach any level of proficiency. We are constantly pelted with questions. Is a magazine ad worth the splurge? Should I sponsor an award? How much time should I spend researching a new market versus actually creating art for it?

 

It’s overwhelming. In fact, it’s so overwhelming that I never run out of content for these monthly articles. But today, I want to share my personal approaches that have survived the trial by fire since 2010. That was the year I ordered Vista Print cards and officially began calling myself a professional artist.

 

None of us are discovering or doing anything new here. I don’t remember who I stole these from, but I’m glad I did. If you’re new to the game, feel free to lift these for your own toolkit. If you’re a veteran, please add your own stolen goods in the comments. Collaboration is always more beautiful than competition.

 

The Stolen Strategy List:

 

Identify Your Why and Stick to the Script 

I make sure every promo, post, and pitch aligns with my core purpose. My why is simple. I want to wake up tomorrow and be the best realist painter and draughtsman I am capable of being for the day. If a marketing opportunity doesn't serve that growth, it's a distraction.

Network Up - and Also Out 

I surround myself with people who challenge me. If I’m the most skilled person in the room, I’m in the wrong room for growth. If I’m in a group that isn't interested in my genre, I recognize I’m there for the social hour, not the career boost. Both are fine, I just don’t confuse them.

Adapt to the Six-Second Attention Span 

I don’t enjoy making videos, and I am definitely not known for being succinct. However, the world currently demands short reels and concise mailings. If I send out five page daily manifestos and ignore social media algorithms, I’m shouting into a very empty void.

Leave Room for the Unscripted 

I used to think I needed a rigid, 12-month list of actionable marketing tasks. I’ve since learned that if I focus on getting my work in front of as many eyeballs as possible, unsolicited opportunities appear. Most of the highlights on my resume weren't part of an aggressive plan. They were the result of being visible when luck stopped by.

Stay the Student, Not the Sage 

My observation - Being curious and self-deprecating is almost always more effective than acting like the ultimate expert. The best artists I know never stop learning, and their following grows because people love the journey. Overconfident creators tend to end up with very small circles, because people take what they need and then leave.

Focus on the Essentials 

Most metrics are decoys. High follower counts and likes rarely translate directly to my biggest commissions or sales. Even major awards, while wonderful for the ego, don't always swing doors open. My technical skills are vital, but marketing success only happens when my strategy aligns with that "why" from point number one.

Try as Much as You Can 

I have found that there are no universal answers. The only way to know for sure what works for me? Try it! Then, streamline down to only what works best.

 

So, what are you going to add to your “must steal" list this month? Or, perhaps more importantly, what are you finally going to stop doing?

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April 2026

 

 

Big Steps, Little Steps

 

It sounds like the title of a Dr. Seuss book, doesn’t it? One Step, Two Step, Big Step, Blue Step.

 

What are you doing to build momentum enough to realize your objectives by the end of the year? Are you chugging caffeine and attacking the big steps? Or, have you been entering the little steps into a color coded spreadsheet you will never look at again? Some seasons I do both.

 

But which do you think are more important to invest in?

 

One day at a time is a phrase we have all heard. But we also know that go for broke, risking everything in a breakout effort to succeed, is a strategy. I have been frustrated with them all. Usually I get impatient waiting for the payout on the one day at a time to happen. But, my bank account and energy stores can’t handle much of the go for broke attempts.

 

Whether it is a large or small act, it is depleting our resources, and we are looking for a return on that investment. But in this art business, the ROI is rarely obvious. It can take years of hard work to get a single sale.

 

So what can we do? I often get sick of hearing that as long as I am moving forward, I shouldn’t worry if I only do a small bit of the task. That’s always when I encounter a mud puddle I know I am going to have to jump over.

 

I was thinking about this recently when I spoke with a friend of mine. Thomas Nash is an amazing, and very successful, portrait artist who built his career through word of mouth, one referral at a time. Half a century ago, he began by doing what he knew he was good at. The first ten years of his career were spent on the streets of Gatlinburg and other tourist towns doing pastel portraits from life. Then he “moved up” to sketching portraits in shopping malls where he could work indoors. Today, he is in his own studio, turning away five figure commissions that don’t feel like a good fit for him. 

 

That is the kind of artistic swagger we all dream of.

 

Tom’s secret sauce? He identified from the start, what his interests were. He liked people and he liked painting faces. For over 50 years now, he has been working hard to be less bad at these two things, every single day. He didn’t worry about whether he was taking big or little steps toward his goals. He just focused on creating the best relationships with his clients and on becoming a more skilled artist. As a result, his collectors typically came back like loyal boomerangs, and improved skills allowed him to raise his prices. That was Tom’s strategy - be better at what you are already good at. It worked for him.

 

Then there’s my story, I crashed the party a little late. When I began my career in earnest, I did the math. I knew that realistically, I only had 40 to 50 years at most to live, and then only if I ate more kale and adopted a “blue zone” lifestyle. I knew that at best, I could probably only count on about 30 of those years being productive, before my hands decide they are done creating. 

 

Naturally, I panicked. I had to try all the media, all the subjects, all the marketing ploys, in order to figure out which ones worked for me. I felt like a human pinball in a gallery-shaped machine.

 

After a decade of frantic situations for building a skillset, teaching, creating, advertising, and selling, I finally got to where my friend Thomas started, I think. I am taking it one day at a time. The “sprint” phase of website and social media and resume building is mostly over. Now, I am zeroing in on what I actually love. Compared to my early pace, I am taking baby steps. I just need the stamina to keep walking at a steady pace, without tripping over my own ambition.

 

Where are you on this chaotic continuum? Are you taking superhero sized leaps, or are you in a more eloquent high heeled part of the journey? Or are you in a weird combination of both, like wearing the high heels but walking on cobblestones?

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March 2026

 

 

Is it Inspiration or Espionage?

 

How much have you "borrowed" lately? Have you ever engaged in full-blown artistic espionage?

I’m talking about the high-stakes stuff. 

•  Entering a gallery opening with the calculated intent of grilling a successful artist on their studio logistics
•  Visiting a free demonstration, not to see the artist create, but to have them give you critiques and advice that will catapult your career
•  Attending a workshop not to learn, but to collect recipes and formulas you can implement
• Purchasing an artwork with the sole intention of reverse-engineering it

Have you pulled off any of these heists?

 

Of course you have. We’re all looking for the shortcut, the skeleton key, the hidden map. We’re often taught that imitation is the sincerest form of flattery and the fastest way to a successful career. But is that true? Is it more lucrative to be a student or a spy?

 

I am not a 17th Century Master

In the 1600’s, artists often borrowed from each other. Look and you will see they painted dresses and curtains with the exact same fold patterns. From their subject matter, it appears they all owned the same chandelier, and the same dog. 

 

I personally love the work of Gerrit Dou. The man was a master of moody, low-key interiors and whispering hues. Me? I lean into a bold explosion of color that screams for attention on my easel.

 

I recently spent weeks forcing myself into Mr. Dou’s world, trying to compose a painting he would approve of. I learned a lot, but I also nearly lost my mind before admitting the truth. I am not a Dou. I adore his work, but trying to inhabit his creative soul was like wearing shoes three sizes too big. You cannot "steal" a style and make it work if it isn't aligned with who you are. 

 

We aren’t photocopiers. We are unique, chaotic, animated paint splatters. Rarely, in my experience, is a work of art I admire aligned with who I am as an artist. I can learn from those works, and I can copy those works, but I cannot honestly create pieces exactly like the artists themselves would.

 

When the Spy Becomes the Target

I’ve been on both sides of the canvas. I’ve watched students launch entire series based on a single idea I shared. I’ve had "friends" approach my collectors, gallery owners and curators behind my back, with works they obviously created using mine as inspiration.

 

But the strangest part? The resentment. I’ve actually angered people by refusing to hand over the secret sauce for free. 

 

I’m happy to answer simple questions, but I won’t give a private workshop outside a teaching venue. Not only is it unfair to my paying students, but I can’t answer complex questions without hours of context. And half the time, I’m still experimenting! If I haven’t worked the bugs out of a technique, I’m not going to hand you a faulty map.

 

Apparently, “no answer" is an offensive answer. Some people assume I’m sitting on a secret stash of gold and refusing to share. They get snarky. It’s a little creepy, honestly. And in the end, I don't think it is as valuable to them as they wish.

 

The Truth About the "Secret Sauce”

 

Here is my reality. Stealing wholesale rarely works. It’s like copying answers off the person sitting next to you during a driver’s test, only to discover that you are both taking different tests. (No, I never actually did that... Thought about it though!)

 

Sure, borrow a sales tactic or a composition trick, but if it doesn’t resonate with your soul, it won’t impress your audience. At the end of the day, espionage might give you a quick thrill, but true successes comes from owning your unique journey. Laugh at the flops, celebrate the wins, and remember that the best “secrets” are the ones you discover yourself. 

 

Continue practicing with intention. Work through the torturous learning periods. Keep at it until it feels invigorating and oddly addictive.

 

What about you? Spill your funniest art spy story in the comments. Let’s turn this into a confessional!

 

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February 2026

 

 

The 75/25 Rule of Pain

 

The art business sometimes feels chaotic. As artists, we often find ourselves screaming from the safe haven of our studios, into the wild west, hoping it screams back with a purchase confirmation or a gallery invite.

 

The problem is that we are spending so much time, trying to control the uncontrollable. In marketing and sales, we attempt to influence external events. It’s uncomfortable and largely unpredictable.

 

On top of that, most of us are introspective by nature. Even if we have acquired the public speaking skills, we’d much rather be alone with a paintbrush than pitching our souls to a room full of strangers.

 

We often lose sleep thinking and rethinking external factors and how we might bend them to our will. 

- Increased sales that miraculously are enough to pay the rent

- Gallery representation, so we get an invite to the cool kids’ table

- Awards and juried shows that earn us stickers that say “I am validated”

- Sold out workshop registrations that keep us on edge for weeks, but inevitably come together only at the very last minute

 

We hope these things happen as a byproduct of our work, but obsessing over them is like trying to make it rain by staring intensely at a cloud. It’s exhausting and usually ends in a neck cramp.

 

What if we stopped trying to be amateur meteorologists and started focusing on the climate inside our own studios? There is a profound power in optimizing what we actually control - the work, the process, and the schedule.

 

However, there’s a catch. If we only stay in our comfort zones, we don’t grow. We just become very technically proficient at being stagnant. We all know those artists who have been perfecting their color mixing charts for decades.

 

I started calling my compromise the “Rule of Pain.” I’ve found that a specific 75/25 ratio of comfort to cringe works best for me:

75% Studio Zen - I spend the vast majority of my time doing what I love and know. This is where the magic happens.

25% Productive Pain - I spend the rest of my time doing the things that make me want to hide under my desk. This is the growth phase. If I’m not at least slightly uncomfortable during this time, I’m probably not growing.

 

It wasn’t always this way, and depending on where you are in your career, your ratio may be different. There was a time at the start when I spent only about 40% arting, and  60% of my time trying new marketing strategies. But, 75/25 is where I landed.

 

The irony is that successes started accumulating for me only when I stopped checking the scoreboard every five minutes. When I decided to love the journey, and stop stressing over the immediate Return on Investment (ROI) for every hour spent, the world actually started paying attention. Letting go of the ROI is not possible for everyone. I was able to make it work, but it is one of the hardest things I have done.

 

The big question remains. Should you spend your energy hunting for new "hacks" to reach your goals? Or should you double down on the internal mechanics of your craft? How much time should you devote to each endeavor? Will a change in the percentages move you forward in your art business?

 

You are the only one who can answer this, but it is an important thing to consider. 

 

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January 2026

 

How I Tamed the Exhibition Monster

Awhile back, even after letting go of some shows I’ve outgrown, I was feeling like the proverbial hamster on a wheel again. So, I bravely dedicated an entire day to listing every art show I felt obligated to enter each year. The grand total was over 50 opportunities. Since most of them encourage 2 to 3 entries, that translated to me chasing 100 to 150 submissions annually.

I can’t paint 100 great works each year. Something had to give. So here's how I tamed the beast, protected my precious time, guarded my quality, and reclaimed my sanity, all while still strutting my best stuff. If you've got a different strategy, spill it in the comments. I'm all ears!

 

Step 1: Figure Out Your Personal Criteria

I quit asking, “Is this a prestigious show?” “How great would a signature status in this society be?” and started grilling myself. “Self,” I said, “Why the heck does this one actually matter to me?”

 

Here's the thing. My work ranges from tiny palm sized miniatures, to four foot tall pieces. Even in my larger work, I often paint areas in the spirit of miniature. Images just NEVER do justice to original art, and that is even more true for miniature fine art. The reality is that in person shows serve me best.

 

Also, these days, my big “why” is simple. I’m here for the joy of the journey. When I'm loving the process, the sales and invites magically follow. At least that's what I tell myself on tough days.

 

Those are my big priorities. Your criteria will be different. But for me, the shows that make my heart sing are:

1. Real-life, brick-and-mortar venues with excellent lighting and patrons who see the way shadows cast from impasto add to the sense of reality in my work.

2. Run by respected folks who know their stuff

3. Support a mission that doesn't make me roll my eyes

4. Places where I'm genuinely vested, sales or no sales, because loyalty shouldn't depend on a red dot.

 

Step 2: Do the Math (Spoiler - It Hurts)

I tallied up all my dream shows and galleries, then crunched the numbers against my actual output. Ouch. 

The cold, hard truths:

- I only create around 15 new, top-tier non-commissioned paintings per year, and only if the muse cooperates

- About 50% of my work will sell in a year (depending the art market roulette)

- Most shows demand work no older than 2–3 years, so no dusting off ancient relics

 

Bottom line: I can sustainably feed 25 exhibitions max if I enter just one new or nearly new piece each. I have always tried to enter all 3 or 4 allowed with the entry fee, but this encourages putting the lesser works out there. Of course, as my inventory grows or shrinks, there are times when I can enter the allowed maximum quantity of works. But with 25 shows annually as my limit, this is just two shows per month, not the four I was juggling. No wonder I was making myself crazy.

 

Step 3: Create a Tiered Priority List Because Not All Shows Are Created Equal

I split my monster list into two sane categories:

Tier 1 The VIPs

These are my 8 to 10 ride-or-dies. I actually plan and paint new pieces for them months ahead.

Tier 2 Everyone Else

These get entered only if I've got perfect, ready-to-go inventory that fits the theme, size, and age rules. No forcing it.

 

Step 4: Put It All on Autopilot in Your Calendar

For Tier 1: I set reminders two months out. This allows plenty of time to start (or finish) that dedicated masterpiece.

For Tier 2: A reminder 2 weeks before deadline. Quick inventory scan: Yay or nay? Done.

This single tweak banished the midnight panic attacks and that nagging guilt over missed deadlines.

 

Step 5: Be Ruthless and Let Go (It's Like Breaking Up, But With Art Societies)

The toughest bit? Ghosting long-time societies and galleries I've loyally supported for years. It feels like betrayal! I see my peers winning awards and selling in those shows, and I still yearn to be hanging next to them. But, the sweet relief is slowly kicking in. Fewer dues are draining my wallet, I’m less frantic about entries, and I feel zero pressure to churn out work under unrealistic deadlines.

 

The jury is still out, but…

My studio is now a zen zone instead of a war room.  

I'm producing fewer pieces, but they're all art I’m proud to share.

Sales? Holding steady or even sneaking upward - turns out maybe quality over quantity actually works!  

Bonus - more energy for actual painting, teaching, and hanging with family, instead of working till 2 a.m. to meet a deadline.

 

Your Quick Purge Checklist - If You Want it, Steal It!

1. List every show/gallery/society you're currently chasing.  

2. Nail down your personal “yes” criteria.  

3. Crunch your real annual output numbers.  

4. Sort into Tier 1 (paint fresh for these) and Tier 2 (inventory only).  

5. Calendar-ize deadlines: Long lead for Tier 1, Quick inventory check for Tier 2.  

6. Grant yourself permission to ditch anything you create or any society you are in that feels like a bad blind date.

 

If you're drowning in calls for entry, give this a whirl. It's not about making less art. It’s about making the right art, for the right places, without turning into a burnt out zombie. If I can practice what I preach and stick with this strategy, my future self will thank me!

 

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December 2025

 

 

10 Surprisingly Civilized Tips for Artists Who’d Prefer Not to Go Full Savage

 

If we still lived like our prehistoric ancestors, getting what we want would be simple…See roasted antelope leg, club the owner, take home dinner.

 

Effective? Sure. Socially acceptable? Not so much.

 

Thankfully, in modern society we’ve mostly agreed to stop hitting each other with clubs. Yet the wanting is still very much alive. This is especially true in the art world, where many of us don’t even know what we want until we see another artist basking in it. Only then do we gasp, clutch our pearls, and whisper: “I want that too!”

 

Naturally, we rush to reverse-engineer their success.

“What paintbrush did they use?”
“What classes did they take?”
“Did they make some sort of pact with an art mentor?”

 

But here’s the twist. Following another artist’s exact steps rarely works. Why? Because that artist is not you. You have your own personality, style, quirks, demographic, sense of humor, tragic backstory, and possibly a completely different caffeine tolerance. All of these influence your path.

 

Plenty of artists have imitated their heroes down to the same brand of oil painting medium. They still didn’t get the same acclaim. Honestly, most never will. It’s not because they’re lacking resources, but because they’re on an entirely different journey.

 

So does this mean the future for all of us yearning creatives is bleak? Nope. It’s fantastic news. It means there is no real competition. There’s no scarcity of success. There’s no need to reenact ancient battles over the last berry bush. Sure, exhibitions hand out prizes to a select few, but the number of paths to meaningful achievement is infinite, and uniquely tailored to each of us.

 

After rummaging through years of Bold Brush articles I have written for you all, from my opinions and experiences, here are ten recurring themes that describe the artists I have known who eventually get exactly what they want.

 

1. Stop holding yourself back.

Be the weird, glorious, authentic version of you. You know - the one you keep editing out because you think it’s too much and nobody else is doing it.

 

2. Stop competing with others. Compete with you.

If you treat art like the Olympics, you’ll miss the growth. And besides, gold medals are heavy anyway.

 

3. Show up.

Go to events. Meet humans. Shake hands. Nod thoughtfully. Doors open this way, mysteriously and often.

 

4. Network wherever and whenever.

People are opportunities wrapped in skin. Be kind, collaborate, and skip the part where you treat them like stepping stones.

 

5. Break rules.

Don’t break the big rules. (Please keep your clothes on.)
But bend and twist when you can, without breaking laws. Push boundaries and offer something new.

 

6. Watch for opportunities.

Don’t be so focused on one goal, that you miss someone waving a golden ticket to another, which might be better. Don’t be like the artist who I witnessed ignoring an eager painting buyer because she was pitching registrations for her art class. (Yes, that actually happened.)

 

7. Celebrate failures.

They’re just research that guide you away from the paths that are wrong for you.

8. Be ready to pivot.

In art and in life, stay flexible. Change is inevitable, and we rarely grow without it.

 

9. Be the person you’d ask for advice.

You know more than you think. You’ve survived things. You’ve learned things. Someone out there wants to be where you already are.

 

10. Have fun.

If you’re miserable, success becomes irrelevant. Joy is a creative superpower. Use it generously.

 

Thank you for reading. Can you think of more things to add to this list? Comment below! We all want to hear.

 

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The Miniature Artists of America

 

The Organization Honoring Nationally Outstanding Professionals in American Miniaturism

 

 

Mission

• Honoring top professionals in American Miniature Art
• Encouraging a national awareness and understanding of fine miniature art amongst artists, collectors, exhibitors and the general public
• Promoting scholarship and study in the field of miniature art
• Maintaining a collection of contemporary American miniature art

History

 

Miniature Artists of America, the first national society to honor outstanding practitioners of miniature art displayed and sold in America, was founded in Clearwater, Florida in 1985. Its purpose is to recognize leading contemporary miniaturists, and to broaden public understanding and appreciation of this ancient art form.

 

Miniature art is often described as "fine original art done in small scale." A commonly accepted American guideline among many of today's miniaturists is that subjects do not exceed one-sixth their natural size. Exceptions are permitted for abstractions or tiny subjects not lending themselves to the "one-sixth" rule, provided they embrace the delicate essence and spirit of miniaturist.

 

Since 1988, a permanent collection of works acquired by MAA has been displayed at various venues. The work can now be viewed at the annual Miniature Art Society of Florida exhibitions.

 

Portraits of Florida's First Ladies

 

Markissia Touliatos with Ann Scott during a recognition ceremony at the Governors' Mansion

Portrait miniatures of Florida Governors' wives, Ann Scott and Carole Crist by Markissia Touliatos

MAA portrait artists carry on a tradition, creating portraits of Florida's First Ladies. The works are housed in a special display case in the Florida Room at the Florida Governor's Mansion in Tallahassee, FL.

 

Presidential Portrait Miniatures

 

Rachelle Siegrist painted Barack Obama, Donald Trump and Joseph Biden for the Woolaroc Museum, Bartlesville, OK
Wes Siegrist painted George W. Bush for the Woolaroc Museum, Bartlesville, OK

 

Support the MAA

Sustaining Associates, the support arm of MAA, are artists and friends of the arts who wish to assist MAA in achieving its goals and objectives. They receive minutes of meetings, the MAA newsletter and information on upcoming MAA events. They are encouraged to attend the annual MAA meeting held in the Clearwater, FL region each winter.

 

The Miniature Artists of America - Candidates Circle

The MAA Candidates Circle, established in 1989, was formed to provide the Jury of Admission with currently eligible miniaturists for consideration to election of Signature Membership. Candidates have either met the MAA's minimum show requirements or have been nominated for membership by at least three Signature Members.

 

MAA is an invitational organization that accepts no more than ten artists each year into its ranks as Signature Members. The Jury of Admission selects candidates from artists who have been admitted to at least eight competitive shows staged by major nonprofit miniature societies in the United States within the previous five years, AND who have received awards from these shows. The Jury may also invite other outstanding professionals who work "in little" but who may not be associated with a particular miniature art society. However, they must be nominated by three Signature Members and submit at least five works for review by the Jury. This International Society recognizes artists of all nationalities displaying their work in America. The MAA Jury of Admission of five Signature Members reviews the works of candidates at the Miniature Art Society of Florida Annual Exhibition (MASF.) Each of the jurors works independently of the other.

The MAA has adopted the standard definition of the Association of Miniature Artists (AMA) for clarification of what the Society considers "miniature" in today's context. The essential tenets are below.

•Minute in scale vs. life sized. For practicality following the general 1/6th scale for my work sent to formal miniature exhibitions and shows.
•Delicate and painstaking technique that withstands magnification.
•Small in format and size: 25 inches or less for surface area. Sculpture should fit inside an 8x8x8 inch cube including the base.
•High in quality. The work should exemplify Fine Art ~ demonstrating a mastery of composition, color, values etc.

As of 2025 only two U.S. Society Exhibitions are accredited* by the MAA for candidate eligibility:
-  The Miniature Art Society of Florida, www.miniatureartsocietyofflorida.com
-  The Miniature Painters, Sculptors and Gravers Society of Washington, DC, www.mpsgs.org

* The MAA encourages miniature art societies within the United States to seek accreditation.

 

Our membership

 

Officers & Volunteers:

President: Kay Petryszak

Secretary: Helen Mathyssen-Dobbins

Treasurer: Janet Laird-Lagassee

Membership: Debra Keirce

Editor: Melissa Miller Nece

Historian/MASF Liaison: Susan Palmer

Hilliard Society Liaison: Rosalind Pierson

Miniature Painters Sculptors Gravers Society of Washington D.C. Liaison: Nancy Still

Royal Miniature Society Liaison: Paul Eaton

 

Honorary Members (All in Memoriam)

Curtis, Charles W. - Clearwater, FL 1988 d. 1/3/2003

Humphries, Robert - Belleville, NJ 1986 d. 1986

Lucas, Suzanne, PRMS - England 1995 d. 12/21/2008

Rabbage, Lewis Hoyer - New York, NY 1995 d. 6/27/1995

 

Active Signature Members Elected

 

Last update September 5, 2024, Dues paid by June 30 of 2024

Italics are links to the artist websites

Abbott, Beverly - VA 2008
Adair, Sue Delearie - NY 2024
Antoine, Morgane - France 2021
Argyros, Chrysoula - South Africa 2007
Avelar, Lonetta - WA 2021
Christine Bass - VA 2023
Eileen Bass - South Africa 2023
Bowers, Tim - OH 2019
Brassard, Celyne - Canada 2024
Brennan, John - FL 2020
Coe, Michael - England 2003
Cook, Ed - IL 1990
De Kosinsky, Viviane - VA 2015
Denyer-Baker, Pauline - England 2013
Downs, Douglas - CA 1996
Eaton, Paul - England 2013
Fotheringham, Beverly - WA 2014
Good, John - England 2016
Heiman-Greene, Carol - CA 2018
Hall, Tracy - Scotland 2013
Hahn, Elaine - FL 2015 
Harris, Gini - South Africa 2021
Holloway, June - TX 2021
Horne-Kaplan, Denise - FL, 2018
Houser, Luann - IN 2017 
Humble, Joan - Australia 2011
Hunter, David - FL 2016
Jansen, Kimberly - NM 2006
Jones, Helen C. - UK 2012
Keirce, Debra - VA 2014
Knoll, Janice - MI 2012 
Laird-Lagassee, Janet - ME 1996
Lalingo, Judy - MD 2013
Morgan, Brenda - AR 2017 
Marsh, Myra - NM 2003
Mathyssen-Dobbins, Helen - FL 2020
Mundy, William P (Bill) - England 1992
Nece, Melissa Miller - FL 2008
Penn, Ruth - MD 2006
Petryszak, Kay - FL 1990
Pierson, Rosalind - England 2001
Rambo, Meredith - GA 1994
Roberts, Genevieve - MD 2021
Rockwell, Carol Pelno - FL 1996
Rossin, Linda - NJ 2005
Rzyski, Christian - Belgium 2005
Serfass, Mary - PA 2015 
Sharbaugh, Evelyn - PA 1998
Stanton, Barbara - CA 2012
Touliatos, Markissia - FL 2002
Vitale, Victoria - NC 2012
Wade, Lynn - FL 2018
Wall, Sue - NY 2017 
Watanabe, Akiko - CA 2015 
Leland Williams - FL 2023
Winter, Marion - Australia 2020

Signature Members in Memoriam
* denotes founding member in 1985

 

Angelini, John - FL 1986 d.12/10/2017
Blake, Jane - FL 1987 d.8/7/1993
Boyers, Jean - FL 1993 d.12/14/2014
Brannigan, Patrick - NJ* d.
Brown, Elizabeth - England 2019 d. 8/2024
Burdett-Somers, Wilhelmina - England 1990 d.1/17/2014
Chadwell, Mary - NV* d.10/3/2012 (Lifetime Member)
Duckwall, Helen B. - FL* d.2/27/1988
Dunne, Jeanne - FL* d.10/30/2012 (Lifetime Member)
Elley, Chuck - NE 1995 d.1/27/2004
Friday, Katherine - OR 1992 d.7/22/2015
Fry, Mies - FL 2010 d.5/16/2010
Ganz, Tykie - FL* d.7/13/2022 (Lifetime Member)
Gliessner, Skip - KY* d.10/10/2007
Hunt, Geoffrey W.G. - England 2000 d.8/23/2008
Jackson, Barbara - GA 1990 d.5/27/2009
Jaka, Agatha - MD 1989 d.12/02/2002
Koenig, Dave - MI 1992 d.5/25/2019
Longley, Pat - NJ* d.12/07/2010 (Lifetime Member)
Lubeck, Gerald - VT 1989 d.2019
MacArgel, Gail - MO 2007 d.7/5/2020
Markut, Jan - FL 1989 d.11/15/1993 
Milhalik, Jane - MD* d.4/17/2019 (Lifetime Member)
Moore, Robert Eric - ME 1990 d.2006
Morrell, Garry - MD* d.
Mullane, Jeanette - OR 2001 d.6/23/2020
Ore, Marion - FL 1988 d.3/20/2014
Pierson, Helen - FL 1992 d.3/23/1998
Plummer, Carlton - ME 1986 d. 2/13/2020
Puttergill, Pat - Africa 2006 d. 3/10/2019
Richards, Glenora - CT 1993 d.10/21/2009 (Lifetime Member)
Rowsell, Joyce - England 2004 d. 3/7/2020
Sanford, Sheila - England 1995 d.7/2/2009
Saxon, Henry - England 1993 d.2006
Sellers, H. Francis - UT 2001 d.11/12/2011
Shorthouse, Sydney - England 1993 d.3/11/2009
Stern, Louis - DC 1994 d.6/9/2014
Toole, Lois Salmon - OH 1992 d.2/14/2021
Trundle, Sylvia - OH 1988 d.11/4/2017 (Lifetime Member)
Tweed, Charlie - FL 2009 d.11/11/2011
Waldron, Wayne - IN 2007 d.8/17/2018
Whyte, Raymond - FL 1989 d.4/9/2003
Willies, Joan Cornish – FL 1995 d. 10/14/2018
Woodhouse, Marjorie - FL 1987 d.7/16/1994

MAA Presidents
Charles (Wally) Curtis 1985-1988 (acting President)
Laura Parker Schofer 1988-1990 
Barbara Jackson and Doris Liverman 1991
Kay Petryszak 1992-2021
Markissia Touliatos 2022 to 2025

Kay Petryszk 2025 to date (acting president)

History of MAA Officers and Leadership
2024- President: Markissia Touliatos
Secretary: Helen Mathyssen-Dobbins
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: TBD
MASF Representative/Historian: Susan Palmer
MPSGS Representative: Ruth Penn
Jury of Admissions: 

2023- President: Markissia Touliatos
Secretary: Helen Mathyssen-Dobbins
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
MASF Representative/Historian: Susan Palmer
MPSGS Representative: Ruth Penn
Webmaster: Wes Siegrist
Jury of Admissions: John Brennan, Melissa Miller Nece, Kay Petryszak, Markissia Touliates, Helen Mathyssen Dobbins

2022- President: Markissia Touliatos
Secretary: Helen Mathyssen-Dobbins
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
MASF Representative: Susan Palmer
MPSGS Representative: Ruth Penn
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
Jury of Admissions: No Show Due to Covid 19

2021- President: Kay Petryszak
Secretary: Elaine Hahn
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
MASF Representative: Susan Palmer
MPSGS Representative: Ruth Penn
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
Jury of Admissions: Viviane DeKosinsky, Mimi Hegler, Debra Keirce, Judy Lalingo, Ruth Penn

2020- President: Kay Petryszak
Secretary: Elaine Hahn
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
MASF Representative: Susan Palmer
MPSGS Representative: Ruth Penn
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
Jury of Admissions: Elaine Hahn, Bill Mundy, Melissa Miller Nece, Ruth Penn, Carol Rockwell

2019- President: Kay Petryszak
Secretary: Elaine Hahn
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
MASF Representative: Susan Palmer
MPSGS Representative: Narissa Steel, Ruth Penn
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
Jury of Admissions: Paul Eaton, Denise Horne-Kaplan, Ruth Penn, Kay Petryszak, Mary Serfass

2018- President: Kay Petryszak
Secretary: Elaine Hahn
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
MASF Representative: Susan Palmer
MPSGS Representative: Narissa Steel, Ruth Penn
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
Jury of Admissions: Luann Houser, Rosalind Pierson, Carol Rockwell, Mary Serfass, Victoria Vitale

2017- President: Kay Petryszak
Secretary: Elaine Hahn
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
MASF Representative: Susan Palmer
MPSGS Representative: Narissa Steel, Ruth Penn
Jury of Admissions: Paul Eaton, Elaine Hahn, Doris Liverman, Melissa Miller Nece, Ruth Penn

2016- President: Kay Petryszak
Secretary: Elaine Hahn
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
MASF Representative: Kay Petryszak
MPSGS Representative: Narissa Steel, Ruth Penn
Jury of Admissions: Beverly Abbott, Michael Coe, Tykie Ganz, Bill Mundy, Ruth Penn

2015- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
MPSGS Representative: Narissa Steel, Ruth Penn
MASF Representative: Kay Petryszak
Jury of Admissions: Paul Eaton, Alan Farrell, Rosalind Pierson, Rachelle Siegrist, Wes Siegrist

2014- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
Historian/Archivist: Wes Siegrist
Webmaster: Wes Siegrist
MPSGS Representative: Narissa Steel
MASF Representative: Kay Petryszak
Jury of Admissions: Paul Eaton, Alan Farrell, Melissa Miller Nece, Kay Petryszak, Markissia Touliatos

2013- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
Historian/Archivist: Wes Siegrist
Traveling Exhibition Coordinator: Wes Siegrist
Webmaster: Wes Siegrist
MPSGS Representative: Narissa Steel
MASF Representative: Kay Petryszak
Jury of Admissions: Bill Mundy, Melissa Miller Nece, Ruth Penn, Rachelle Siegrist, Lois Salmon Toole

2012- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Beverly Abbott
Historian/Archivist: Wes Siegrist
Traveling Exhibition Coordinator: Wes Siegrist
Webmaster: Wes Siegrist
MPSGS Representative: Narissa Steel
MASF Representative: Kay Petryszak
Jury of Admissions: Fred Gruizinga, Melissa Miller Nece, Heidi Presse, Wes Siegrist, Violet Temple

2011- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Rachelle Siegrist
Historian/Archivist: Wes Siegrist
Traveling Exhibition Coordinator: Wes Siegrist
Webmaster: Wes Siegrist
MPSGS Representative: Narissa Steel
MASF Representative: Kay Petryszak
Jury of Admissions: Chrysoula Argyros, Bill Mundy, Roz Pierson, Carlton Plummer, Rachelle Siegrist
MAA Award Juries: MASF - Kay Petryszak, Rachelle Siegrist, Wes Siegrist; MPSGS - Mimi Hegler, Ruth Penn

2010- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Editor: Melissa Miller Nece
Membership: Rachelle Siegrist
Historian/Archivist: Wes Siegrist
Traveling Exhibition Coordinator: Wes Siegrist
Webmaster: Wes Siegrist
MPSGS Representative: Narissa Steel
MASF Representative: Kay Petryszak
Jury of Admissions: Tykie Ganz, Gail MacArgel, Ruth Penn, Klaus Strubel, Charlie Tweed

2009- President: Kay Petryszak
Secretary: Susan G. Palmer
Editor: Melissa Miller Nece
Treasurer: Janet Laird-Lagassee
Membership: Rachelle Siegrist
Travel Exhibition Coordinator: Wes Siegrist
Webmaster: Wes Siegrist
Archivist/Historian: Wes Siegrist
MASF Representative: Kay Petryszak
MPSGS Representative: John Thompson/Narissa Steel
Jury of Admissions: Beverly Abbott, Dean Mitchell, William P. Mundy, Heidi Presse, Wes Siegrist

2008- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Membership: Janet Laird-Lagassee
Travel Exhibition Coordinator: Wes Siegrist
Webmaster: Wes Siegrist
MASF Representative: Kay Petryszak
Jury of Admissions: Gail MacArgel, Jane Mihalik, Kay Petryszak, Rosalind Pierson, Rachelle Siegrist

2007- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Membership: Mary Lou Moore
Travel Exhibition Coordinator: Wes Siegrist
Webmaster: Wes Siegrist
MASF Representative: Kay Petryszak
Jury of Admissions: Alan Farrell, Tykie Ganz, Ruth Penn, Rosalind Pierson, Wes Siegrist

2006- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Membership: Mary Lou Moore
Travel Exhibition Coordinator: Mary Kugelman/Wes Siegrist
Webmaster: Wes Siegrist
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Alan Farrell, Charles Hargraves, Myra Marsh, Kay Petryszak, Rosalind Pierson

2005- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Membership: Mary Lou Moore
Travel Exhibition Coordinator: Mary Kugelman
Webmaster: Wes Siegrist
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Margi Cochran, Dean Mitchell, Rosalind Pierson, Rachelle Siegrist, Wes Siegrist

2004- President: Kay Petryszak
Secretary: Susan G. Palmer
Treasurer: Janet Laird-Lagassee
Membership: Mary Lou Moore
Travel Exhibition Coordinator: Mary Kugelman
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Markissia Billiris, Charles Hargraves, Mimi Hegler, Myra Marsh, William P. Mundy

2003- President: Kay Petryszak
Secretary: Susan G. Palmer
Corresponding Secretary: Alma Wensley
Treasurer: Janet Laird-Lagassee
Membership: Mary Lou Moore
Travel Exhibition Coordinator: Mary Kugelman
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Camille Boyers, Jeanette Mullane, William P. Mundy, Henry Saxon, Sherri Trial

2002- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Susan G. Palmer
Corresponding Secretary: Alma Wensley
Treasurer: Janet Laird-Lagassee
Membership: Anita Boyers
Travel Exhibition Coordinator: Mary Kugelman
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Mimi Hegler, Myra Marsh, William P. Mundy, Kay Petryszak, Laura Von Stetina

2001- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Susan G. Palmer
Corresponding Secretary: Alma Wensley
Treasurer: Chuck Elley
Membership: Anita Boyers
Travel Exhibition Coordinator: Mary Kugelman
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Jean Boyers, Chuck Elley, Katherine Friday, Doris Liverman, Violet Temple

2000- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Susan G. Palmer
Corresponding Secretary: Alma Wensley
Treasurer: Chuck Elley
Membership: Anita Boyers
Travel Exhibition Coordinator: Mary Kugelman
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Chuck Elley, Charles Hargraves, William P. Mundy, Kay Petryszak, Violet Temple

1999- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary/Corresponding Secretary: Alma Wensley
Treasurer: Chuck Elley
Membership: Anita Boyers
Travel Exhibition Coordinator: Mary Kugelman
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Tykie Ganz, Jane Mihalik, William P. Mundy, Carol Rockwell, Raymond P. Whyte

1998- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary/Corresponding Secretary: Alma Wensley
Treasurer: Cynthia Eastman-Roan
Membership: Anita Boyers
Travel Exhibition Coordinator: Mary Kugelman
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Anita Boyers, Chuck Elley, Katherine Friday, Tykie Ganz, Lois Salmon Toole

1997- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Helen Pierson
Corresponding Secretary: Doris Liverman
Treasurer: Cynthia Eastman-Roan
Membership: Anita Boyers
Travel Exhibition Coordinator: Mary Kugelman
GMAS Representative: Meredith Rambo
MASF Representative: Kay Petryszak
MPSGS Representative: Margaret Hicks
Jury of Admissions: Chuck Elley, Katherine Friday, Fred Gruizinga, William P. Mundy, Colleen Parker

1996- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Helen Pierson
Corresponding Secretary: Doris Liverman
Treasurer: Tykie Ganz
Membership: F. Marion Ore
Travel Exhibition Coordinator: Mary Kugelman
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MPSGS Representative: Margaret Hicks
Jury of Admissions: Jean Boyers, Margi Cochran, Chuck Elley, Sydney Shorthouse, Violet Temple

1995- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Helen Pierson
Treasurer: Tykie Ganz
Membership: F. Marion Ore
Travel Exhibition Coordinator: Doris Liverman
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MPSGS Representative: Margaret Hicks
Jury of Admissions: Mary Chadwell, Katherine Friday, Colleen Parker, Violet Temple, Sydney Shorthouse

1994- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Helen Pierson
Treasurer: Tykie Ganz
Membership: F. Marion Ore
Travel Exhibition Coordinators: Marjorie Woodhouse/Doris Liverman
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MPSGS Representative: Margaret Hicks
Jury of Admissions: Margi Cochran, Dave Koenig, Jane Mihalik, Helen Pierson, Violet Temple
1993- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Helen Pierson
Treasurer: Tykie Ganz
Membership: F. Marion Ore
Travel Exhibition Coordinators: Marjorie Woodhouse/Doris Liverman
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MPSGS Representative: Margaret Hicks
Jury of Admissions: Pat Bridges, Katherine Friday, Skip Gliessner, Barbara Jackson, Violet Temple

1992- President: Kay Petryszak
Vice President/Editor: Wally Curtis
Secretary: Marion Simonds
Treasurer: Tykie Ganz
Membership: F. Marion Ore
Travel Exhibition Coordinators: Marjorie Woodhouse/Doris Liverman
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
Jury of Admissions: Tykie Ganz, Doris Liverman, Kay Petryszak, Raymond Whyte, Marjorie Woodhouse

1991- Co-Presidents: Barbara Jackson/Doris Liverman
Vice President/Editor: Wally Curtis
Secretary: Marion Simonds
Treasurer: Colleen Parker
Travel Exhibition Coordinator: Marjorie Woodhouse
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
Jury of Admissions: Al Barker, Pat Brannigan, Richard Haynes, Pat Longley, Jane Mihalik

1990- Co-Presidents: Barbara Jackson/Doris Liverman
Vice President/Editor: Wally Curtis
Secretary: Marion Simonds
Corresponding Secretary: Marjorie Woodhouse
Treasurer: Colleen Parker
Travel Exhibition Coordinator: Barbara Jackson
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MMAS Representative: Jack Akerstrom
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
Jury of Admissions: John Angelini, Fred Gruizinga, Marion Simonds, Raymond Whyte, Marjorie Woodhouse

1989- President: Laura Schofer
Vice President/Editor: Wally Curtis
Secretary: Kay Petryszak
Corresponding Secretary: Marjorie Woodhouse
Treasurer: Irene Kemp/Colleen Parker
Travel Exhibition Coordinator: Barbara Jackson
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MMAS Representative: Jack Akerstrom
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
Jury of Admissions: John Angelini, Jane Blake, Jeanne Dunne, Marion Simonds, Marjorie Woodhouse

1988- President: Laura Schofer
Vice President/Editor: Wally Curtis
Secretary: Kay Petryszak
Corresponding Secretary: Marjorie Woodhouse
Treasurer: Beulah Tschache Coleman/Irene Kemp
Archivist/Historian: Lewis Hoyer Rabbage
GMAS Representative: Meredith Rambo
MASF Representative: Doris Liverman
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
MMAS Representative: Jack Akerstrom
Jury of Admissions: John Angelini, Jane Blake, Jeanne Dunne, Pat Longley, Marjorie Woodhouse

1987- President: Gary Morrel (Acting Wally Curtis and Kay Petryszak)
Vice President/Editor: Wally Curtis
Recording Secretary: Kay Petryszak
Corresponding Secretary: Marjorie Woodhouse
Treasurer: Beulah Coleman
Archivist/Historian: Lewis Hoyer Rabbage
MASF Representative: Doris Liverman
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
MMAS Representative: Pegee Haman
Jury of Admissions: John Angelini, Tykie Ganz, Jane Mihalik, Gary Morrell, Carlton Plummer

1986- President: Wally Curtis
Recording Secretary: Laura Schofer
Corresponding Secretary: Marjorie Woodhouse
Treasurer: Beulah Coleman
Archivist/Historian: Lewis Hoyer Rabbage
MASF Representative: Doris Liverman
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
MMAS Representative: Pegee Haman
Jury of Admissions: Al Barker, Helen Duckwall, Jeanne Dunne, Tykie Ganz, Pat Longley

1985- President: Wally Curtis
Vice President: Tom Hopper
Recording Secretary: Laura Schofer
Corresponding Secretary: Marjorie Woodhouse
Treasurer: Beulah Coleman
Editor: Robert Humphries
Archivist/Historian: Lewis Hoyer Rabbage
MASF Representative: Doris Liverman
MSNJ Representative: Pat Longley
MPSGS Representative: Margaret Hicks
MMAS Representative: Joan Christensen
Jury of Admissions: Helen Duckwall, Robert Humphries, Doris Liverman, Pat Longley, Marjorie Woodhouse

Charter Member of the World Federation of Miniaturists

Miniatureartistsofamerica.org is the official website of The Miniature Artists of America. All artwork, images and contents of this website are © Miniature Artists of America and the respective Artists. The MAA Logo was designed by Pat Longley.

 Debra Keirce Resume Highlights

(I started working as a full time professional artist in 2010, but feel like my last few years are representative of my journey)

 

Top Honors:

 

JUDGED THE LARGEST MINIATURE SHOW IN THE WORLD!

I had the absolute honor of being the judge for the Miniature Art Society of Florida international exhibition. I did the judging in November 2024, and the show opened in January 2025. It was the 50th annual celebration.

 

GUEST PANEL - 2025 SPLASH WEEK, ARTS OF THE ALBERMARLE, ELIZABETH CITY, NC

Splash Elizabeth City 2025 I gave an art talk about my experiences as a U.S. Coast Guard ArtistI was invited to teach, demonstrate, and give an art talk at this annual week of networking and community engagement at the Elizabeth City based arts center. My mission was to share about the U.S. Coast Guard Art Program and the government collection I am proud to have 14 paintings in, to promote the Seaside Art Gallery annual international miniature show, and to demonstrate drawing and painting techniques for creating realistic two dimensional renderings.

 

GUEST SPEAKER - 2024 MARINE COMBAT ART SYMPOSIUM AT QUANTICO

September 2024 I was invited to speak about my Coast Guard Art Program and Salmagundi Club experiences for marines at the maritime art museum in Quantico. 

 

BRIAR WOODS HIGH SCHOOL ART TALK

November 2025 I was a guest speaker at the Briar Woods High School National Honor Society STEAM ceremony in Loudoun County, VA.

 

JURIED U. S. COAST GUARD ARTIST

I am a juried U.S. Coast Guard artist with a total of 17 works in the government collection. In 2021, three of my paintings were juried into the Coast Guard Art Program permanent collection. In 2022 I had two juried into the collection. One of my pieces was awarded the best of show George Gray award in 2022. In 2023, three of my paintings were accepted into the collection. In 2024, 3 paintings were accepted. Three were juried in, in 2025.

 

ARTIST RESIDENCY

Invited to 5 Day Artist Residency - Deployment on the U.S. Coast Guard Cutter StoneI am the incredibly fortunate recipient of an invitation to an artist's residency at sea. I was invited to be a guest of the Cutter Stone crew Nov 11 to 15, 2022. We set sail out of N. Charleston, SC, USA. My mission was to witness, document and participate in as many stories of the service men and women at work as possible. Then, I had the honor of taking those experiences and creating compelling paintings that share the stories of our military for generations to come. My expenses were paid for by a retired navy captain who loves art and the Coast Guard Art Program..All of my artwork produced from this residency is created for the Coast Guard Art Program (COGAP) government collection..2022 Best of Show George Gray Award US Coast Guard Art Program ExhibitionAwarded the best in show for the 2022 COGAP Inaugural Exhibition of 38 juried paintings from 27 artists. These works are now part of the government art collection. They are exhibited in venues such as Salmagundi Club, The Union League Club NYC, The Federal National Memorial, the offices of members of Congress, cabinet secretaries, senior government officials, the State Department overseas, the Art in Embassies program, and many other military services and Coast Guard Locations nationwide.My winning painting is titled "Nurdles and Ghost Nets and Flotsam." The collection facilitators renamed it "Debris cleanup in Hawaii" when they took possession of the painting.

 

2021 NOTABLE COMMISSION - BOSTON LANGHAM HOTEL

Chosen to create 11 original paintings (8 portraits 30"x40" and 3 palm sized still life paintings) for the Langham Hotel in Boston, MA. The Langham Hotel is the former Federal Reserve Bank of Boston building. I was chosen to complete 8 portraits of past Boston Fed presidents, to hang in the hotel's fine dining area. I also was commissioned to paint three miniature pieces for the bar area. This is a great honor. I lived in Boston in the 1990's and this project is a delight on so many levels.It is the largest commission I have ever endeavored.

 

AUTHOR

Invited contributing author - monthly articles on Bold Brush Blog, an art sales and marketing publication through Fine Art Studios Online, with an audience of approximately 100,000 subscribersInvited contributing author

Ani Waichulis Art Academy monthly SmarterMarx Magazine.

 

JUDGE

Invited to judge several local and international art exhibitions. Most recently,

2027 Seaside Art Gallery International Miniature Exhibition, Nags Head, NC

2025 Mena Gallery Small Works National Show, Mena, AR

2025 Miniature Art Society of Florida International Exhibition, Dunedin, FL (largest miniature exhibition in the world with over 700 entries)

2023 Miniature Fine Art Show, an international exhibition at Seaside Art Gallery in Nags Head, NC

2023 Springfield Art Guild exhibition at Green Spring Gardens in VA.

 

SOLO SHOWS

2024 Smith Galleries in Harrisonburg, VA 

2020 Customs House Art Museum, Clarkesville, TN.

 

CURATED MUSEUM SHOWS 

2026 Daum Museum of Contemporary Art, Western Visions Exhibition

2026 Old West Museum, Cheyenne, WY - Western Spirit Art Show and Sale

2026 3 person show MonDak Heritage Museum in Sidney, MT - Good As Gold

2026 3 person show WaterWorks Art Museum, Miles City, MT - Good As Gold

2025 SCNY Spring Auction, Salmagundi Club, New York, NY

2025 Customs House Museum, Women Artists of the West Homeland Exhibit, Clarksville, TN

2025 WaterWorks Art Museum Biennial Miniature Art Exhibition, Miles City, MT

2025 Women Artists of the West Homeland Exhibition, Customs House Museum, Clarksville, TN

2025 3 person show at Deines Cultural Center Museum, Russell, KS - Good As Gold

2025 3 person show MonDak Heritage Museum in Sidney, MT - Small Wonders

2024 Mountain Oyster Club Art Show, Tucson, AZ

2024 Deines Cultural Center Mystery, Magic & Macabre, Russell, KS

2024 Customs House Museum, Clarksville, TN - Wood, Paper, Paint: 40 Years of Collecting Art - select pieces from the museum's permanent collection of art

2024, 2023 , Howland Museum, Beacon, NY - American Artists Professional League Realism on the Hudson

2024 Old West Museum, Cheyenne, WY - Western Spirit Art Show and Sale

2024, 2023, 2022, 2021 Bryn Du Annual Juried Exhibition in Granville, OH

2024 WaterWorks Art Museum, Miles City, MT - The  Myth of Beauty Annual Exhibition

2024 , Dunedin Fine Art Center,  Dunedin, FL - Miniature Art Society of Florida2024 3 person show Albrecht Kemper Museum, St. Joseph, MO - Small Wonders

2023 Albrecht-Kemper Museum Annual Membership Exhibition, St. Joseph, MO

2023 MonDak Heritage Museum Miniature Show, Sidney, MT2023 3 person show, Customs House Art Museum, Clarksville, TN - The Big and the Small of It 

2023 3 person show, Deines Cultural Center Museum, Russell, KS - The Big and the Small of It at 

2023 3 person show WaterWorks Art Museum, Miles City, MT - The Big and the Small of It

2023 3 person show, MonDak Heritage Museum in Sidney, MT - The Big and the Small of It

2023 3 person show, Waterworks Museum in Salisbury, NC

2023, 2022, 2021 Mena Art Gallery, Mena, AR - Art of the Heartland Exhibition

2022 3 person show, Mansion at Strathmore, Rockville, MD - The Big and Small of It at the - reviewed by Washington Post art critic!.

 

CURATED GALLERY SHOWS

2026 98th Grand National Exhibition of the American Artists Professional League at Salmagundi Club in NYC

2026 Copley Society of Art National Juried Show, Boston, MA

2026 Bryn Du Mansion Art Show, Granville, OH

2026 Salmagundi Club 149th Annual Black and White Exhibition, New York, NY

2025 American Artists Professional League Timeless Exhibition, Lyme Art Association in CT

2025 Mena Art Gallery Art of the Heartland National, Mena, AR

2025 3 person show at Ashe County Arts Council - WAM Good As Gold, West Jefferson, NC

2025 Parklane Gallery 33rd Annual International Miniature Show, Kirkland, WA

2025 Best of the Region Art Show and Sale at The Virginia Art Factory, Manassas, VA

2025 International Guild of Realism International Exhibition, Sugarman Peterson Gallery, Santa Fe, NM

2025 Mena Art Gallery Small Works Show, Mena, AR

2024 Hardt Gallery 2nd Annual Miniature Art Show, Best in Show, and also Peoples' Choice Award,  St. Francis, KS

2024 American Artists Professional League 96th Grand National Exhibition, Salmagundi Club, NY, NY

2024 Mountain Mystique, Florence Thomas Art School, West Jefferson, NC

2024 American Artists Professional League 96th Grand National, Salmagundi Club, New York, NY

2024 Salmagundi Fall Auctions, New York, NY

2024 Salmagundi Spring Auctions, New York, NY

2024 Medicine Lodge Peace Treaty Art Show, Medicine Lodge, KS

2024 VMRC Exhibition, Harrisonburg, VA

2024 Southwest Artists Small Works National Exhibition, Mena Gallery, Mena, AR

2024 International Guild of Realism Show at T.H. Brennan Gallery in Scottsdale, AZ

2024 Bryn Du Art Show, Granville, OH

2024 International Miniature Art Show at Seaside Art Gallery, Nags Head, NC

2024 Punta Gorda Visual Arts National Biennial, Punta Gorda, FL

2024, 2023, 2022, 2021 US Coast Guard permanent government collection - Exhibitions at Salmagundi Club, Federal Hall National Memorial, Union League Club-all in New York, NY

2024, 2023 Copley Society of Art Small Works - Boston, MA2023 Salmagundi Club Thumb Box Exhibition, New York, New York

2023 Bosque Art Classic in Clifton, TX

2023 Mena Art Gallery Art of the Heartland in Mena, AR

2023 National Oil and Acrylic Painters Society, Best of America Small Works show at Mary Williams Fine Art in Boulder, CO

2023 International Guild of Realism show at Sugarman Peterson Gallery in Santa Fe, NM

2023 3 Person show at River Valley Arts Center

2023 Two 3 Person shows at Deines Cultural Center in Russell, KS

2023 Two 3 Person shows at Waterworks Visual Arts Center in Salisbury, NC

2023 3 Person show at Visual Arts Center, Punta Gorda, FL

2023 Women Artists of the West National Exhibition and Sale, Carriage Factory Art Gallery in Newton, KS.

 

ONLINE JURIED EXHIBITIONS

2026 American Artists Professional League 1st Annual Online Exhibit

2026 Plein Air Salon

2024 Art Renewal Center finalist in figurative and another in still life

2024 National Oil and Acrylic Painters Society Fall Online

2024 American Artists Professional League

2023 American Women Artists Annual.

 

OVERSEAS EXHIBITIONS

2024 a drawing and a painting went to the moon on a codex through Art Renewal Center Salon Exhibition

2022 International Society of Experimental Artists Exhibition, St., Albert Gallery in Alberta, Canada.

 

RECENT AWARDS

2026 Merit Award, Mountainside Miniatures at Lakewood Arts Gallery in Lakewood, CO

2026 Chosen to paint the official portrait of fallen USCG hero Tyler Jaggers

2026 Award of Merit Copley Society of Art In Tandem Small Works Show

2026 Copley Society of Art National Juried Show - 3rd Place

2026 American Plains Artists Juried Exhibition - Award of Excellence

2026 Award of Merit, Spanish Moss Miniature Show at Innova Arts Gallery in Mobile, AL

2026 Several FAV 15% awards in the FASO Bold Brush monthly contest

2026 - Best in Show, Southwest Artists National Small Works, Mena AR

2026 Finalist - Plein Air Magazine 15th Annual PleinAir Salon

2026 Talent Prize, Teravana Portrait contest - https://youtu.be/_2xD7trqxq4?si=5mogH682AcIeL-QA

2025 1st Place, Small Works Show at Charles H Taylor Visual Arts Center, Hampton, VA

2025 Honorable Mention - MonDak Museum Miniature Show, Sidney, MT

2025 Award of Excellence - Ridge Art Association, Winter Haven, FL

2025 2nd Place - Gateway to the Rockies Miniature Exhibition, Aurora, CO

2025 Honorable Mention for portraiture - Miniature Painters Sculptors Gravers Society of Washington D.C., Rockville, MD

2025 Merit Award The Hardt Gallery 3rd Annual Miniature Exhibition 

2025 Best in Show - Mountainside Miniatures, Lakewood Arts Gallery, Lakewood, CO

2025 Award of Merit - Copley Society of Art "In Tandem" Small Works, Boston, MA

2025 Honorable Mention, Heartland Art Guild Annual Miniature Art Show, Paola, KS

2025 Several FAV 15% Bold Brush Contest recognitions!

2025 Best in Show - WaterWorks Art Museum International Biennial Miniature Art Exhibition, Miles City, MT

2025 Best in Show - WaterWorks Art Museum National Exhibition, Nostalgia, Miles City, MT

2024 1st Place - Gateway to the Rockies Miniature Exhibition, Aurora, CO

2024 Best in Show  and also People's Choice - 2nd Annual Miniature Exhibition at The Hardt Gallery, St. Francis, KS

2024 American Artist Professional League 96th Grand National Exhibition, Outstanding Drawing

2024 National Oil and Acrylic Painters Award of Excellence - Online International Exhibition

2024 American Women Artists Outstanding Achievement Award in figurative- Spring Online show

2024 - Honorable Mention Mena Art Gallery Small Works Show, Mena AR

2024 - one of 15 honorable mention awards - 3rd Annual Best of Show | Pets Art Competition - The Artists Network

2024 3rd place and honorable mention in the Miniatures in Mariposa exhibition, Mariposa, CA

2023 1st Place, Gateway to the Rockies Miniature Show, Aurora, CO

2023 3rd Place in Art of the Heartland Show, Mena Art Gallery, Mena, AR

2023 2nd Place in the Mountainside Art Guild's 19th Annual Miniature Show in Lakewood Arts Gallery, Lakewood, CO

2023 Finalist in the favorite subject competition, International Artist Magazine

2023 Presidents' Award and also the Western Art Collector Magazine Editor's Choice Award, Women Artists of the West National Exhibition.

 

LATEST PODCASTS

Guest on May 21, 2026 Fine Art Studios Online Webinar - Things Artists Don't Talk About Guest on March 21,

2024 American Artists Professional League Instagram Live with host Jon BandishGuest on May 11,

2023 Fine Art Studios Art Sales and Marketing Circle Live Session with Clint WatsonGuest on May

2023 Bold Brush Show with Laura Angelo Baier

 

RECENT FEATURES IN PUBLICATIONS

2026 Homiens Promoted Artist Feature

2026 Feature in Bold Journey Magazine

2026 Featured in April American Art Collector Magazine

2026 Astonish Magazine Issue 66 finalist, page 82 https://issuu.com/biafarinart/docs/artistonish_-_january_2026_discover_the_artist?fr=sZGRmYzkwNDU5ODg

2025 October 19 issue of The Daily Advance ran a feature article about my art talk at Elizabeth City Splash Week https://www.dailyadvance.com/news/local/splash-week-keirce-recalls-artists-deployment/article_d4d3c0bd-2c4d-41a0-91da-ffbabd6628be.html2025

June issue of The New Criterion, https://newcriterion.com/dispatch/coast-guard-on-paint/

2024 November issue American Art Collector, for the Salmagundi Club auction

2024 September feature article for Coast Guard Art Program wins - Art of the West Magazine

2024 mention in the Forbes Travel Guide for my paintings in the Boston Langham Hotel https://www.forbes.com/sites/forbestravelguide/

2024/05/01/8-hotels-with-gallery-worthy-art-collections/?sh=718e1d7f45e3

2024 September/October issue Artists Magazine, for Honorable Mention in Contest

2024 feature in April Beautiful Bizarre Magazine - https://beautifulbizarre.net/2024/03/28/artist-directory-debra-keirce/

2024 September/October 2024 issue of Artists Magazine

2024 April issue of online magazine - Artists Network

2024 Feature in June issue Beautiful Bizarre Magazine

2023 Full page feature in International Artist Magazine Oct/Nov issue

2023 Full page Artist in Focus feature in Western Art Collector Magazine Oct issue.

 

SIGNATURE AND JURIED MEMBERSHIPS I HAVE EARNED

Art Renewal Center Associate Living Master

United States Coast Guard Artist

Copley Society of Art signature member, Boston, MA, also juried member of the Copley Portrait Registry

American Women Artists 

National Oil and Acrylic Painters Society, and also a mentor for NOAPS

International Guild of Realism

SouthWest Artists, Inc. at Mena Gallery

Miniature Artists of America, the highest recognition a miniature artist exhibiting in the USA can attain. There are just over 60 active members in the world today.

Hilliaard Society of Miniaturists, Wells, England

Salmagundi Club juried member, New York, NY

Women Artists of the West Elected Member American Artists Professional League Elected Member

Miniature Painters, Sculptors, Gravers Society of Washington, D.C.Member of Distinction

Association of Miniature Artists

Elected member Fine Art Professionals of Northern VirginiaFeatured

Member International Community of Miniature Art

Hilliard Society of Miniaturists, Wells, England

 

PERMANENT COLLECTIONS

The Langham Hotel in Boston has 3 of my miniature oil paintings in their bar area, The Fed. They have 8 of my narrative 40”x30” portraits in their restaurant, The Grana. Here is a link to the full story with all the titles and descriptions of the works:

https://www.debkart.com/blog/166091/my-story-of-my-langham-hotel-boston-commission.

 

The US Coast Guard Art Program has accepted 17 of my oil paintings into their permanent government collection. Here is a link to all 17, plus one they rejected because they thought it was a collage, even though I explained it was oil paint, made to look 3D like a collage:

https://www.debkart.com/collections/199724.

 

CORPORATE COLLECTIONS

2023 ”FTAS” is an oil painting and is part of the Florence Thomas Art School permanent collection in West Jefferson, NC

2022 "Groovy" is a miniature oil painting at Eaton Goldsmith's in Surrey, England 

2018 "Landscape" is an oil painting hanging in the Perigord Retreats collection in Gourdon, France

2015 Two 20”x20” acrylic paintings of coffee shop decor grace the walls of The Blend, in Ashburn, VA

2014 "Best Friends" is in the collection of the Church of the Nazarene in Orange Walk District, Belize

2011 "Ethanaol" is an acrylic painting that is part of the Amazon Web Services permanent collection in  Herndon, VA

 

MUSEUM COLLECTIONS

“Hot Topics” an oil lpainting, was acquired by the Yellowstone Art Museum Collection in Billings, MT

“All About the Hat” an oil painting, is in the WaterWorks Art Museum Permanent Collection in Miles City, MT

“Red, White and Blue” a miniature oil painting, is in Customs House Museum’s permanent collection in Clarksville, TN

"Big Fish, Little Tank” an oil painting, is part of the permanent collection in MonDak Heritage Center Museum in Sidney, MT

"Little Black Box” a miniature oil painting, is in the permanent collection at Deines Cultural Center in Russell, KS.

 

PAINTING AND DRAWING DEMONSTRATIONS:

Twice each year, Seaside Art Gallery in Nags Head, NC

Feb 2025, Tuckahoe Artists in Richmond, VA

July 2024 at Smith House Galleries in Harrisonburg, VA

June 2024 at Customs House Museum in Clarksville, TN.

 

EDUCATION

Most recently, completed the 4 year Ani Art Academies curriculum

Classically trained, instruction from many contemporary traditional realists

Formal education -bachelor of science in biochemical engineering, 1983, Univ. of MI in Ann Arbor, MI, USA. and a successful career designing pharmaceutical manufacturing facilities across the world., during the 1980's and 1990's