I’m honored to be showing several of my still life paintings this weekend with Harris Harvey Gallery at the 2025 Seattle Art Fair. This Seattle gallery is known for championing contemporary work by West Coast artists, and I’m happy to be exhibiting alongside a group of remarkable painters from their roster.
The fair takes place at the Lumen Field Event Center, where over 80 galleries will be featured, including programming from SAM, public talks, installations, and more. Harris Harvey Gallery will be at Booth B11, and their space includes artwork by Fred Holcomb, Terry Furchgott, Gary Faigin, Eduardo Fausti, Linda Jo Nazarenus, Hiroshi Sato, Thomas Wood, John Lysak—and myself.
If you’re planning a visit, I’ll be there Saturday morning (July 19) and would love to say hello.
Event Details
Seattle Art Fair 2025 Lumen Field Event Center 800 Occidental Ave S, Seattle, WA 98134 Booth B11 – Harris Harvey Gallery
Public Hours: Friday, July 18: 11am–7pm Saturday, July 19: 11am–7pm Sunday, July 20: 11am–6pm
Fair programming includes artist talks, curated installations, and gallery booths from around the world. It’s a great opportunity to experience a broad range of contemporary artwork—whether you’re an artist, avid collector or simply curious about art. For more information about the fair, go to the Seattle Art Fair website.
Chasing Color is an ongoing series of monthly miniature still life paintings that explores how a single hue can shape atmosphere, memory, and emotion. Each piece focuses on one dominant color, using classical techniques and a personal lens to build small, detailed scenes from fruits, florals, porcelain, and—sometimes—unexpected guests.
This month, I turned to orange: a color often tied to energy and brightness. But in Feast in Orange, I leaned into its softer side. The light is warm, the details are familiar, and the mood is quiet and calm.
A Cat Among the Oranges
I don’t often include cats in my still life work, but this is the second time I’ve made an exception. The first was years ago—a curious feline peeking onto a table, much in the manner of Clara Peters. In this new piece, I originally sketched the cat awake, but he had such a strong presence that the painting began to feel more like a pet portrait with still life elements than the other way around. Once I tried the composition again with the cat sleeping, everything shifted. His presence became subtler, and the overall balance felt right. The still life returned to center stage.
Snraky Guest, Rebecca Luncan, 5″ x 5″Still life of fish, oysters and crayfish with a cat, Clara Peters, 13.3″ x 18.8″
Of course, I doubt any cat would actually sleep through the smell of fresh salmon. But he’s good at pretending—as long as he’s being watched.
Creature Comforts Revisited
Looking back, I realize this painting echoes a mindset I had during an earlier series made at the height of the pandemic. That body of work, called Creature Comforts, was all about finding reassurance in simple things: a nourishing meal, a soft flower, a warm cup in hand. Without planning it, I seem to have returned to that space here. The navel orange, the mandarin, the fillets of salmon laid out on a porcelain room plate—they speak to comfort. The ruffled carnations in a green glass vase, the napping cat, the hush of the composition—they speak to peace.
Sometimes we don’t know they why’s of what we’re painting until we’re finished.
A Personal Note
This piece took longer to share than usual. It had been finished for weeks but sat quietly in the studio while we traveled back to the Midwest to visit family. My mom was recently diagnosed with pancreatic cancer. Thankfully, they caught it early, and she’s a fighter. As soon as school let out for the summer, we packed up and flew out to Ohio.
It was a deeply meaningful trip. Most of my family is still in the area, and being able to spend real time together—especially after a quick visit earlier this spring with just the baby—made the experience even more memorable.
Painting has always helped me process things I don’t yet have words for. And while I didn’t see the connection at first, Feast in Orange became a reflection of what I needed that time. A longing for closeness. A need for calm. A kind of emotional nourishment.
Thank you, as always, for following along with my work and my story.
This painting of Kiki was a surprise gift commissioned by my friend Natasha for her husband, Dustin. We planned everything in secret, and I created several mock-ups before she chose the final composition—a round 4 x 4″ oil painting on aluminum with a soft grey-blue background.
Natasha and her family live nearby, so instead of mailing the finished portrait, they came to the studio to pick it up. I packed it in a gift box for the final reveal. I rarely get to witness someone seeing a finished portrait for the first time—most are shipped off with only an email or photo in return—so it was incredibly moving to be there in person. I got to see everything: the surprise, the tears, and the love that lingered long after the box was opened.
Remembering Kiki
Kiki had been with Dustin since before he and Natasha got together. She passed away in 2019, but her memory is very much alive. She had a strong, no-nonsense personality with a silly streak. She loved playing fetch with hair ties, sunbathing in the backyard, and fiercely protecting the other cat from their dogs. She was always gentle with their son, Sébastien, though she refused to give up her spot on the changing table when it suited her.
A Painting Full of Love
This kind of project is why I love what I do—capturing not just a likeness, but a loved one. Creating a portrait is always meaningful, but being there to witness someone connect with their pet through my artwork was a rare gift.
“It looks perfect! Thank you so much :). I can’t wait to see it in person!” —Natasha
If you’re interested in commissioning a portrait as a gift, please note that I’m typically booked about a year and a half in advance. However, I offer gift vouchers for those who’d like to give something sooner or involve the recipient in the design process.
I’m honored to share that my portrait of Winston received an Honorable Mention in Artists Magazine’s 4th Annual Best in Show | Pets art competition. The painting was inspired by Winston’s close relationship with his owner—a dear friend known for his animal sculptures and patterned plywood furniture. Winston is not just a subject but a true studio companion, so incorporating elements of a piece from Michael’s workshop made it all the more personal.
The work was selected by juror Emma Colbert, who offered this thoughtful commentary:
“I love when a background sets the scene and the lighting in a pet portrait. Winston’s surroundings are perfect, and the care taken in capturing his character is noticeable. Tonally, this is a little masterpiece using light and shade to create a whole world for Winston in that beautiful round format.” — Emma Colbert, Juror
The winning pieces—including Winston—are featured in the September/October 2025 issue of Artists Magazine and are now available to view online.
Thank you to Artists Magazine and juror Emma Colbert for recognizing Winston. I’m delighted to have this portrait included alongside so many heartfelt and beautifully rendered works.
From Seattle to Sydney, and Into a Frame Worthy of a Queen
Last year, I had the joy of painting a miniature pet portrait of a truly majestic Siamese cat named Princess. The finished piece traveled halfway around the world—from Seattle to Sydney—where it now lives in the home of her loving human, Danielle.
This commission was special from the start, not only because of Princess’s striking presence, but also because I was able to use one of Tom Matthews’ coveted handmade Dutch ripple frames. These handcrafted tondo (circular frames) are rare treasures, and if ever a cat deserved one, it was Princess. The final painting measured just 5.25″ x 5.25″, but the presence it carries is much larger.
Capturing Princess: A Commanding and Intimate Gaze
Princess was depicted in a regal pose, lounging on a rose-colored blanket with a soft floral texture. Her creamy fur and striking golden eyes stood out against a muted green-gray background, giving the whole piece a sense of depth and calm.
From Danielle:
“I’m overwhelmed with how exact her portrait is, it’s just like she’s having a conversation with me through the portrait, just as you planned.”
Those words are the highest praise. That quiet sense of connection is exactly what I aim to capture in every portrait.
A Lovely Collaboration
Danielle was a dream client: warm, thoughtful, and deeply connected to her cat. Working with her to bring Princess’s portrait to life was a true pleasure. From our initial conversations to the moment she saw the final painting, the process felt collaborative and full of care. If you’re curious about how my commission process works, you can learn more here.
It’s always an honor to be trusted with such a personal commission. Portraits like these are more than just likenesses—they’re tributes to beloved companions and the lives they shared with us.
This month’s featured print is Blueberry Pancakes—a tribute to comfort, ritual, and the kind of quiet morning we all dream of, especially mothers.
Originally painted for the Monthly Miniatures, Creature Comfort series in May, this piece was my version of the perfect Mother’s Day breakfast: pancakes stacked high with melting butter, a rich latte in a Blue Willow cup, and a single iris in an antique hand vase.
The composition echoes the Dutch still life tradition, but with a distinctly contemporary touch. It’s about everyday beauty—something made by hand, savored slowly, and shared with love.
Fine art prints of this piece are now available in the shop. Printed on archival paper, signed, and ready to ship.
Order by Tuesday, May 7th for Mother’s Day delivery.
These two portraits—of Winston the dog and Sloop the cat—were painted for my longtime friend Michael Alm, a sculptor and furniture maker whose distinctive patterned plywood designs often appear in his work. Michael’s eye for materials and love for his pets made this pair especially meaningful to paint.
Capturing Winston
Winston, a black-and-white mixed breed dog, is shown seated in front of one of Michael’s plywood cabinets. I knew from the start that I wanted to include the signature texture and angles of the furniture in this piece. The lighting is direct, casting sharp reflections on the concrete floor and giving the portrait a grounded, contemporary atmosphere.
Because of the highly detailed nature of my painting process, it’s essential that the composition is finalized before I pick up a brush. In the original reference photo, a dark cushion intersected Winston’s head—visually distracting and not ideal for framing his face. I digitally repositioned the furniture so that his head was cradled by a clean section of patterned plywood. The cabinet’s perspective and Winston’s gaze naturally lead your eye to the left, but a carefully placed handle at the edge of the painting subtly redirects your attention, bringing you back into the portrait.
A Portrait of Sloop
Sloop, Michael’s ginger cat, was painted lounging on a sofa, one of his favorite spots. I included one of his toys in the foreground and modified the background to echo the teal green of his eyes, a decision that emphasized his vibrant coloring. Unlike Winston’s more structured setting, Sloop’s portrait is softer and more intimate—matching his feline charm.
Honored Recognition
The portrait of Winston received an Honorable Mention in The Artist Network’s 4th Annual Best of Show | Pets Art Competition. It will be featured alongside other winners in the September/October 2025 issue of Artists Magazine and on ArtistsNetwork.com.
More About Michael Alm
Michael’s work as a sculptor and woodworker is both thoughtful and meticulous. You can explore his creations on his website almfab.com or follow his build videos and creative projects on his YouTube channel, which has over 600,000 subscribers.
Chasing Color is a new series of miniature paintings that explores how a single hue can influence mood, memory, and meaning. Each piece centers around one dominant color, building a world from fruits, florals, porcelain, and wildlife. The technique is classical, inspired by Dutch Golden Age still life, but the stories are personal—drawn from my life, home, and history.
This first painting is a meditation on red: bold, passionate, and deeply rooted in memory.
A Cardinal’s Comfort
The cardinal has always meant “home” to me. Growing up in the Midwest, they were a familiar flash of color in winter trees, and even now, seeing one feels like a kind of homecoming. In this painting, the bird perches on a porcelain bowl inspired by an 18th-century Chinese piece from The Met. Its deep Sang de Boeuf glaze mirrors the cardinal’s feathers and also nods to my former life as a mountmaker at the Seattle Art Museum, where I spent 14 years working with pieces like this.
From My Garden
The other elements are more grounded—literally. Every fruit and flower came from my own garden. The cherries were from my tree’s final season; it died not long after, but not before gifting me the biggest harvest I’d ever had. I took dozens of reference photos (and baked two pies!) from that one harvest. Since cherries are often symbols of paradise, maybe it’s time I plant another.
A painted lady butterfly, emblem of transformation, rests on a leaf. We’ve raised and released three rounds of these butterflies from tiny caterpillars—it’s a magical process, and one I love sharing with my kids. The strawberries? Let’s just say I believe every garden should have them. Homegrown strawberries taste like a completely different fruit than the store bought variety.
Generational Threads
And then there’s the poppy. My grandfather, who emigrated from Romania in the 1920s, loved poppies. My dad grew them in remembrance of him, and now I grow them for my dad. It’s a small tradition, but a meaningful one—and one that made its way into this painting.
It’s incredible how much can be packed into a 5 x 5″ space. Even a single strawberry can carry a story.
This piece, In the Company of Red, is now on its way to its new home in San Francisco. I hope it brings a little warmth, a little memory, and maybe a spark of connection to its new home.
Making oil paintings is slow, thoughtful work. Before my brush ever touches a copper panel, the process involves weeks of gathering inspiration, researching, photographing references, creating digital mock-ups, and preparing my surface.
In an age of instant AI-generated artwork, I see the value in slowing down. Painters have faced similar upheavals since the invention of photography—and yet painting endures. I believe there’s a reason: nothing replaces the depth and intimacy of handmade art.
A Series Two Years in the Making
This month marks a milestone: the twelfth and final piece in my Swallowtail Butterfly Painting Series. Over the past two years, my “monthly” miniatures have been more “bi-monthly” miniatures as I navigate life with a new member of the family. Even with all the chaos of going through pregenancy and having a demanding infant I’m the primary caregiver for, I’ve somehow completed one painting after another, each pairing a swallowtail species with unique botanical elements. This final work celebrates not just the butterfly but the joy of slow, intentional living.
Slow Food, Slow Art
To highlight that theme, I included two of my favorite “slow foods”: pomegranates and walnuts. Sure, you can buy them prepped and packaged. But if you’ve ever cracked a walnut or dug out the seeds from a pomegranate, you know the quiet satisfaction that comes from doing it yourself.
The same can be said for painting. My work takes time—and that time adds flavor.
Featuring the Rajah Brooke’s Birdwing
This painting features a male Rajah Brooke’s Birdwing butterfly, part of the Papilionidae family (which includes all swallowtails). These dazzling creatures are native to rainforests across Southeast Asia and have a wingspan of up to 6.5 inches. Their vivid green-and-black coloring makes them look like flying stained glass. In fact, they’re so large they’re often mistaken for birds—hence the name “birdwing.”
What Comes After the Swallowtails?
The past year brought big changes—especially having a one-year-old at home. Time for painting has been more limited, and I’ve learned to be gentle with myself and realistic with my goals.
So instead of monthly miniatures, my next project will ofically unfold as bi-monthly miniature paintings throughout 2025 and 2026. I’ve been deep in the planning stage—sketching, researching, and refining ideas—and I’m almost ready to begin.
Thank you for following along on this journey. I hope you’ll continue with me as the next series takes flight.
I’m thrilled to introduce you to a dear friend and incredibly talented artist, Joey Bates, who has recently taken on the Monthly Miniature challenge alongside me. Joey and I first met years ago in Seattle at a weekly open studio co-hosted by artist Tim Marsden and myself. Though Joey now lives in Sweden, we’ve been able to rekindle that creative exchange through Signal, thanks to a fellow artist and mutual friend, Susan Lewandowski.
This month, Joey and I decided to take on a shared theme: dragonflies. Scroll down to see his November miniature—a stunningly intricate cut-paper dragonfly that showcases his signature precision and attention to detail.
If you’re not yet familiar with Joey’s work, I can’t recommend it highly enough. His pieces are thoughtful, beautiful, and quietly powerful. I’m so excited to see where the Monthly Miniature journey takes him, and I hope you’ll follow along too.
