Every material in a piece of mine has a name and a place. Here is the standard behind that, and why nothing is ever taken from protected land.

These paintings hold real Sedona soil, carried back and set into the surface, so the place itself lives in the work. Here is why the earth is really in them.

An honest answer from an artist, including the part most artists will not say to you.

Twelve questions worth asking, including the three that tell you the most and that almost nobody thinks to ask.

Everything is chosen, everything was expensive, and it still feels like a very nice hotel. There is usually one reason.

Inherited work carries obligation as much as beauty. A gentle way to sort out what stays, what goes, and what to do with the guilt.

Nobody teaches you how to do this and the art world is not always welcoming about it. Here is the whole thing, plainly.

An hour and a half north, a mile up, and a completely different Arizona. Worth knowing if you are looking for somewhere to escape the summer.

Bringing original art into a new Greater Phoenix home starts with choosing the work first, then letting it set the tone of the room. Here is how to begin.

Everything you actually need to know about looking after an original, which is far less than most people fear.

Walls of glass are the whole point of building here, and they leave you with fewer walls and more light. Both are solvable.

A symbolic painting says two things at once, the thing you see and the thing it is about. How I read the symbols in my own work, from a tortoise carrying a town to a face left unpainted.

The sliding wall that opens the whole room is the best thing about a Valley house and the trickiest for a painting.

Most artists post work as it dries. I hold a body of work back and release it whole, on one day, and here is why.

The single biggest environmental event of the year for a painting in Arizona, and almost nobody connects the two.

The story behind Sands of Time, a series of narrative paintings about how we hold on to time, place, and memory, and what the collection is really about.

Five places I would think twice about in a Valley home, and the good news is that every house here has plenty of walls that work beautifully.

Why I sell my work directly from the studio instead of through a gallery, and what that means for the collectors who acquire it.

A practical answer to a question people ask me constantly, including when it is genuinely not worth the trouble.

Most damage to art happens in a move, and most of it is preventable. What to do, and the four things never to do.