Since I accidentally invented my Firepainting technique in 2004, I have burned hundreds of paintings, most of them successfully. Most of those have found loving homes, like beautiful pets away on a wall without the mess.
Some have remained in my possession, though, which fact alone contributes to their rarity. Some have been published. Some were removed from the market out of favoritism or recognition of their significance in Firepainting history. Some have been exhibited once or never. Some I have displayed only in my home. And some date back to the infancy of my technique, works that laid the foundation for later achievements.
All have appreciated significantly in value, and all are available to appreciate on your wall of choice.
The images pale in comparison to the originals.
Please reach me through the contact page for more information. And thank you for visiting.
As with all Firepaintings, this was painted on cotton rag paper and then burned on a bonfire. Only plain water was used as paint, plus a minor retouch in pastel on the horizon. The lower left corner was burned away entirely. From early in my Firepainting career, 2004-2006. 30"h x 22"w. Published in the Washington Post. Exhibited twice.
DOMINICAN SUNSET #12
Painted with only plain water in the bottom of a drained in-ground pool at my art dealer's home in Washington, DC. The session was broadcast on live TV. The yellow splashes are color cross-contamination between paintings. c2012. 30"h x 22'w. Exhibited twice.
DOMINICAN SUNSET #13
Also painted with just water and then set ablaze, this time in West Virginia. Beautiful contrasts between the wet and burned dry areas of the paper, with brilliant brights, deep darkness, and strong motion throughout. c@2011. 30"h x 22"w. Exhibited twice.
A HEAT SIGNATURE
From early in my Firepainting career, 2005-2006. Now reaching beyond painting with just water, this is executed also with wheat paste, potassium nitrate, inks, and charcoal. 30"h x 22"w. Exhibited once.
BEYOND THE BURNING LAND
An exercise in enthusiasm, this 2006-2007 piece shows confidence in execution and excitement at the potential inherent in this infant technique. Painted with water, wheat paste, potassium nitrate, gunpowder, and charcoal. Published in the Washington Post with a favorable show review. 30"h x 22"w. Exhibited three times.
FIRE IN THE UNDERGROWTH
From later Firepainting, 2016 or so. Painted with plain water, wheat paste, earth, gunpowder, and charcoal. A stirring abstraction of nature, by nature. 30"h x 22"w. Never shown publicly.
Early career, 2005-2007. Painted with plain water, wheat paste, gunpowder, charcoal, and potassium nitrate. Strong environmental undertones meet bold execution. Measures approximately 28" square. Exhibited twice.
VOLCANIC ACTIVITY ON A LESSER SCALE
From later career, c2016 or so. Painted with water, wheat paste, potassium nitrate, earth, and burning charcoal. Another powerful abstraction of nature by nature. 22"h x 30"w. Never shown publicly.
THE END OF WINTER
Still abstract but more representational, this early work (2005-2007) shows strong environmental overtones, winter all warmed up. Painted with water, wheat paste, charcoal, ink, pastel and oil pastel. And burned, of course. An elegantly spontaneous and subtle piece. 22"h x 30"w. Exhibited once.
HEAT STIMULATING THE BRAIN
Only the 2nd Firepainting ever made, this September, 2004 abstract is unlike any made since. But definitely a sign of things to come. Painted with water, charcoal, and pastel, then set afire and reworked with pastel. 30"h x 20"w. Exhibited once. Brighter and clearer than the photo shows, it has hung in my home for 16 years.
ON MUDDY CREEK
Painted with water, wheat paste, charcoal, and earth, then retouched with pastel post-burn. During the burn, the entire upper section of the painting burned away. The finished piece is mounted on a blue painted backing paper. Mid-Firepainting career, 2009-2011. 20"h x 30"w. Exhibited thrice.
ABSTRACT NATURAL #2
The second painting in only the second Firepainting series (the 1st is Dominican Sunsets), this piece shows the early introduction of watercolor in addition to plain water. A fluid and radiant work with a truly organic aesthetic. c2005, 30"h x 22"w. Exhibited twice.
ABSTRACT NATURAL #8
Painted with water, watercolor, wheat paste, inks, and set ablaze, then mounted on a bright, ink stained backing paper. Again, a fluid creation full of flow and subtlety. Mid-career, c2008. 40"h x 30"w. Exhibited thrice.
ABSTRACT NATURAL #13
Painted with water, watercolor, ink, wheat paste, and gunpowder, and then burned, at a party in Schuyler, VA, summer of 2012. All natural ingredients for an all natural abstract, as organic as art gets. 30"h x 22"w. Shown once.
ABSTRACT NATURAL #15
A powerful abstraction on a larger scale. Painting with fire at this size is difficult and requires assistance, so I haven't made many. Like all abstract naturals, this is off the fire just as you see it; it has not been reworked. 50"h x 70"w, framed size. c2016. Exhibited once in Miami, FL.
ABSTRACT NATURAL #16
Painted the same weekend as AN #15, above, and at the same size. Also as with #15, this was painted with water, watercolor, inks, wheat paste, and earth, with dry pigment added. Another bold abstraction of nature by nature. c2016, 40"h x 60"w (50 x 70 framed). Never shown publicly.
ABSTRACT NATURAL #19
A radiant piece on a smaller scale, this 15"h x 11"w Firepainting is packed with color and unexpected detail. Warmly organic and highly expressive, it fully captures the artistic value of nature's elements. c2017, never shown.
ABSTRACT NATURAL #18
Painted in 2017 with water, watercolor, inks, tempera, and earth. 22"h x 15"w. Never exhibited, it has hung in my studio since inception. It is nearly alive with energy. Burned medium-rare to rare.
ABSTRACT NATURAL #20
Also painted in 2017 with water, watercolor, inks, tempera, and earth. Burned medium to medium-rare, the image is well balanced, the colors clear and strong. 22"h x 15"w. Never exhibited.
This 2013 Firepainting straddles the lines between nature and abstraction, figurative and conceptual. Painted with water, watercolor, wheat paste, inks, tempera, and earth. Lightly detailed post-burn with pastels and mounted on ink stained backing paper. 20"h x 30"w. Published in the Washington Post, exhibited twice and mainly displayed in my home.
UNEXPLAINED DAYLIGHT WHERE EVENING MIST IS MADE
An earlier transitional work anticipating future visions, marrying nature and abstraction. Water, wheat paste, potassium nitrate, and pastel, mounted on inked paper. 30"h x 22"w. Promoted by my NY dealer in Artnews Magazine.
A LITTLE LONG IN THE SUN
An excellent earlier example of the landscape potential inherent in all Firepaintings. Painted with water, watercolor, wheat paste, tempera, gunpowder, retouched post-burn with pastel. This is the cover piece of my only art catalog to date. Mounted on inked paper. 22"h x 30"w. Exhibited once.
EVIDENCE OF WARMING ALONG THE COAST
Painted with just water and potassium nitrate, burned, and then reworked post-burn with pastel for detailing. As with several others, it's mounted on inked paper, showing where the piece was burned through. 30"h x 40"w. Exhibited twice, displayed in my studio otherwise.
A LAWNMOWER PATH TO PARADISE
Painted with water, watercolor, tempera, and wheat paste, this piece said landscape right off the fire. Maybe the most heavily reworked of all Firepaintings, it was detailed post-burn with pastel. Luminous and vibrant, the colors clean and pure. 30"h x 40"w. Published in the Washington Post.
Also heavily worked with pastel post-burn, and heavily burned. All of the bright orange spots are holes in the painting where the inked backing paper shows through. Water, watercolor, wheat paste, potassium nitrate, and gunpowder used throughout. 22"h x 30"w. Published with a critical review in Artnews Magazine. Exhibited twice, shown in my home for 8 years. c2011.
MORNING WARNING OF WARMER DAYS
Painted with water, watercolor, wheat paste, and earth, finished with pastel post-burn. Completed c2016, it was burned in 2015 at a winery event in Washington State before several hundred guests. Like so many, a visionary piece as unique as any Firepainting ever made. 22"h x 30"w. Exhibited once.
THE VALLEY OF THE SUN
Painted with water, watercolor, wheat paste, inks, earth, and finished post-burn with pastel. A beautiful balance between what the fire gave me and the requirements of my vision. Also a surprising expanse of unsinged paper. c2016. 22"h x 30"w. Exhibited once.
WHERE WATERS MEET BENEATH THE MOON #2
This piece was also burned in 2015 at a winery in Washington State and finished with pastel in my studio much later. The areas most resembling moving water came off the fire as shown. Astonishing. Painted with water, watercolor, wheat paste, and earth. Aside from my series, one of very few Firepaintings directly inspired by another. 22"h x 30"w. Exhibited once.
the burning land
There are numerous variables affecting the value of a given artwork, from rarity, to size, to relative and relevant significance within an overall body of work. Larger paintings will always be more expensive, and always more valuable, than smaller ones. Works that are emblematic of a stage or phase of an artist's career hold more value than those that don't. Published works carry a premium not borne by unpublished ones.
This means that prices vary from $1800 to $16000 depending on the details. And the details are always free; all you need to do is contact me through the link, below right.
Thank you for visiting. Your comments will be appreciated, and may be sent also through the contact link.