The Mystic Voyager

“The Mystic Voyager” 14x11 (18.5x15.25” framed) Mixed media on panel, wood frame with epoxy clay ornament. Created for “Nocturnal Bloom” an online group show with Show runs Jan 11- Feb 1 2019. The first painting in my Voyager series. More photos here. Contact for purchase information.

The Genesis Voyager

“The Genesis Voyager” 14.5x11.5 (shown with a slight crop as the image will appear when framed.)

My first finished painting of 2019 is this mixed media piece, “The Genesis Voyager”. It actually began as an experimental piece, but one that would continue within the latest framework of a new series of portraits. I started with a piece of cardboard that I had been saving. I liked the tone and texture of the stock and thought it would look great as a base for layering transparent and semi opaque layers of color. So I sealed it with a textured clear acrylic and tucked it away until the right project came along and this new series of paintings seemed a perfect fit.

Work began with an experimental approach, that is trying some different layering combinations, etc, with no expectations of having a “keeper” painting. But I reached a point where the piece just fit so well with the other two I had already created, and I was so happy with what was happening on the board, that I decided to take it all the way to a finished work.

In some ways this seems a departure from the other work in the Dankquart Collection series. Maybe a bit too colorful, or too “abstract” but then again part of the idea of the series was that the artwork being “discovered” came from different places and periods and logically would have been created by different hands. Many of the Dankquart series elements are present though and I think more of a family connection will be apparent when the others in the series arrive, although each of them is created with a different approach.

The techniques I’m using are really more of a throwback then anything new to me the major difference being the surface I’m working on, and even that isn’t totally foreign, I’ve worked like this before. One thing that is different is that I’m working on surfaces other than my usual prepared mdf panels, although the first three pieces in the series are mounted to mdf.

Here are a couple of in progress shots that I posted on my Instagram account, and please follow me on IG if you are so inclined, @walkerbrushworks.

A photo taken early on as color is being laid down in broad sweeps. This was shot at an angle to show the surface texture. Lots of “grit” to work with.

This was taken the next day. I’m probably close to laying in the basics. from that point I start to “mold” some of those abstract areas and create images or suggestions of things. The embryo peeking out from the left side is an exception, I wanted him to be much more developed.


The side of the artwork after mounting the cardboard to mdf. The mdf is sealed with acrylic all around and after mounting the sides are sealed as well. I’m not saying you could display this at the bottom of your swimming pool but I like the idea that it should be very stable and resistant to environmental changes. You can also see what we illustrators call the “bleed” around the painting, the raw board area showing through that will be covered when the artwork is framed. From here the painting received a couple of coats of varnish with a semi gloss finish.

Waking the May Queen

“Waking the May Queen” is my contribution to Modern Eden Gallery’s December/January group exhibition, “Night Garden”. As described on the Modern Eden website the show features, “selected contemporary artists exploring the subjects of nature and earth magic, flora and fauna, death and wilderness—with a nod to the nocturnes of Whistler, the notes of Chopin, and the gardens of Hieronymus Bosch.”

This is another terrific show at Modern Eden with a great line up of artists and I’m so happy to have been invited to participate. The show closes Jan 4 so hurry over and catch it while you can.

More information about “Waking the may Queen” at the link, please contact Modern Eden for purchase inquiries,

Shadow and Grace

Early in the year I was invited by Tim Maclean to participate in “Shadow and Grace” a six person show with WOWxWOW online running August 10-31. I created four new pieces for the show, but as the opening grew near Tim asked if I would consider adding a few drawings as well, so I created three new sketches for the show too. Artists in the show include, ‚ÄčLioba Brückner, Hanna Jaeun, Archan Nair, Andi Soto, Nathalia Suellen, and of course myself. It’s a terrific honor to have been asked to show with WOWxWOW and to be included with a group like this is a real treat. Below are the paintings I’ve created for the show. Please see for images of all the artwork and contact with any purchase inquiries.

“Portrait of a Mystic”

“Spell of the Mystic”

“Captain Perilous Darke”

“Thirteen Days til Harvest”

Reliquary of the Twilight Emissary

“Reliquary of the Twilight Emissary” 24.5 x 25.625 x 3.75” Acrylic on panels, wood enclosure, wood beads, brass and polymer clay. The new addition to the Dankquart Collection series. Both doors open in the above photo and both closed in the shot below. The sun and moon symbols on the exterior doors line up with the eyes on the emissary portrait inside.

twilightemissary doors closed

twilight emissary one door open


It’s a fairly time consuming exercise to create one of these pieces moving through the various steps from initial idea sketch to the completed artwork. Here are some in progress photos of a few of the stages. I began by developing a full size rough drawing based on an entry in my sketchbook. That was used to lay out the pieces used to create the wood enclosure which was built outward from the artwork and doors they frame.


With the basic enclosure construction complete and the doors properly test fit on their hinges, I laid out the panels and put a basic drawing down on the gessoed surface. I rarely get very detailed with the drawing at this stage. Just enough to act as a solid guide. Then the drawing is sealed and the panels are given a glaze of burnt sienna acrylic.


The lay in process continued with a basic monochromatic underpainting to establish value. Then I clamped a wood strip to my drafting table, tilted it to almost vertical, and used a few props to place the panels in position relative to way they would be when mounted to the enclosure. This allows me to work knowing how the subject flows from one panel to the next. I provide both for the distance from the central panel to the near edge of the doors and from the bottom of the doors to the bottom of the central panel. Turns out a couple of Derwent watercolor pencils were the perfect shim size to boost the central panel up to the right level.


When the the painting was completed I moved to the bas relief panel that sits just below the doors. This is polymer clay built up on a piece of mdf. I used a round metal insert to act as a holder to hold the base of the tooth I would create later.


With the sculpting done it’s on to the paint stage. This requires several colors and multiple layers of acrylic paints and glazes to develop a rich antique bronze patina finish.


There is also a skull in flower sculpt between the doors. Here it is in progress. Part of the process is fitting the back of the piece to the molding on the enclosure so it will lay tight to the wood frame. As with the bas relief panel this little guy will be treated to a similar multi layer acrylic paint process, as will the wood enclosure.

Only when all of the various elements are completed did the final assembly begin. That procedure took several hours in itself as a few minor adjustments were made. Holes were measured and drilled to mount the wooden bead trim and antique brass ornaments were attached at the bottom of the enclosure. The central panel panting was placed, then the doors mounted. The very last step was to attach a hanging wire and felt pads to the back. Finished.

If you would like information about purchasing this piece please email me using the Contact page here.

The Origin of Deadalin Darke

“The Origin of Deadalin Darke” 18x12.5” acrylic on panel, wood frame with polymer clay, is my new piece for Modern Eden Gallery’s current group exhibition, “Baby Mama: Portrait Invitational VI”. The theme of the show is an update of the mother and child paintings of the renaissance which fits in very well with the concept of my Dankquart Collection series. A bit of humor was encouraged when creating the work and as with many of the pieces from that series there is a definite touch of dark whimsy here. The show runs at Modern Eden from June 8 to July 6. Please see the Modern Eden website for purchase information and if you are in the San Francisco area stop by for an in person viewing.

Baby Mama: Portrait Invitational VI
Modern Eden Gallery
801 Greenwich Street
@ Mason Street
North Beach
San Francisco, CA 94133

Phosphorus for Arch Enemy Arts

“Phosphorus”, a new entry in the Dankquart Collection series, was created for Arch Enemy Arts “The Periodic Table of Elements” show. It’s a mixed media work utilizing acrylic paints and mediums, polymer clay, glass vials, and wood. When I began the concept drawings for the piece I knew I wanted to have a connecting link between the exterior, with the doors closed, and the interior, doors open. So I created the small red character at the bottom of the enclosure who flows directly into the main portrait when the doors are opened. The enclosure also features a skull in flower sculpt, a regular part of this imaginary lost civilization’s artwork, and two small reliquary items, bones secured in glass domes. Although this piece is designed to be wall hung, it will also work as a stand alone piece on a tabletop or desk. More photos are available here.
Purchase inquiries through Arch Enemy Arts Gallery.


Reliquary of the Enlightened Man

REMFrontLRReliquary of the Enlightened Man20.75x25.875x5” Acrylic on panel paintings, wood, acrylic, polymer clay. A new addition to my Dankquart Collection of faux antiquities. I designed this piece to feature painted panels mounted in doors that would work together with a base panel to form one image, whether open or closed. Each door panel painting has its own subject and center of interest, yet elements of the door panel artwork blend together to form a large sphere hovering over a landscape. When the doors are opened the narrative advances. The subject of each exterior panel “changes” and the landscape stretches out as the center panel is revealed.


The piece developed from a sketchbook drawing of the center panel. Once I had the subjects in mind I began to layout the way in which they would interact, although I didn’t begin painting until the enclosure’s construction was far enough along to temporarily place the panels. That way I could draw (and later paint) knowing how things would line up. There are five paintings on three panels and I was often working on all of them simultaneously which got to be tricky at times.

The two beetles and bone at the base of the enclosure are sculpted from polymer clay. I used a rabbit bone from my collection as a guide when applying layers of acrylic paint and glaze to the sculpted bone. I didn’t want the banner to simply lay flat to the enclosure so I gave it a bit of a raised area toward the center and then curled the ends back around so that they almost resemble horns.

I’ve posted more photos with some details of the panels and sculpts here under my Dankquart Collection section of the website. I did a few in progress posts on Instagram as I worked on this piece as well, you can see them here, and please consider following me on Instagram if you’re so inclined.

For information about purchasing this piece please email me using the Contact form here.

Reliquary of the Acolyte


Reliquary of the Acolyte34x25x4.5” Acrylic on panel, wood surround, polymer and Apoxie clay ornaments, resin, brass, cast iron. This latest addition to the Dankquart Collection further advances the narrative of the series’ lost civilization origin beliefs. My goal was to create a piece with extra depth, visually, as with the window within a window composition, and by building layers of content for viewers to interpret.

This piece began, as most do, with a sketchbook scribble. These are usually very rough but serve as reminders for me, indicators of where I was thinking of taking a project and some very basic directions, so that I can come back at a later date and pick up where I left off conceptually.


From the initial sketch stage I develop a tighter pencil drawing. As you can see I don’t get into too much detail preferring to develop it further when I transfer the drawing to my painting surface. I am not using a model, this piece was developed nearly entirely from my imagination with little reference.


Once I have the drawing down on my paint surface, in this case a prepared mdf panel, I rough in color usually working from back to front, large to small. Knowing the I might need to make alterations down the road, and I did, I premixed color for certain areas. I often mix these in small paper cups that will easily keep the color usable when stored in plastic bags.


I wasn’t sure about the folds in the drapery so I taped down a piece of plastic wrap so I could quickly lay down strokes of color and design the area to work with the foreground. I snapped a quick photo to use as reference later if I needed to.


When I create these pieces I work on both the frame surround and the painting at the same time. This allows me to better marry the two together and keeps me moving ahead as I can jump from one to the other as glue or paint needs time to dry.


When the painting is complete, or nearly so, I begin to work on creating some of the ornamental elements for the frame. Sometimes by waiting until the painting is done I have a better feel for what I want to make and how it should work. The skull was created in a multi step process first building out Apoxie clay over a wood form, then applying layers of polymer clay to flesh out the final dimensions. The finished sculpture was given a three color four step painting process for a mellow aged look.



It wouldn’t be a reliquary with out some treasured remembrance, in this case there are two. Left and right of the elongated ancestor skull are small relics created from polymer clay and set in resin held in a brass cup. On one side is a bone fragment, the other the foot of a tiny bird.



I’ve taken advantage of the depth created when using applications of gloss craquelure varnish and played the shiny surface of the varnished painting off the matte “substrate” surface, the area that appears to be exposed as if part of the painting has fallen away with age. Much easier to see in person the result produces a convincing trompe l'oeil effect.

Also see: Link to Reliquary of the Acolyte in the Dankquart Collection.

Small Wonders 6 at Arch Enemy Arts

“Memories of a Gardener” 6x5.25” framed. Acrylic on panel, distressed wood frame.

“Small Wonders 6” at Arch Enemy Arts Galley in Philadelphia PA, is a show dedicated to smaller, very affordably priced work. I’ll have three new miniature pieces in the show, spun off from my Dankquart Collection series including, “Memories of a Gardener”, “Memories of Ancient Spirits” and “Spiny Embryo-Fresco Fragment”. The show opens November 3 from 6-9pm. For more information, a collector preview, (if you are reading this before the show opens), and photos of all three of the pieces I have available see