the blur between


Category: Fine Art

Say I Won’t

Hey kids. My studio life is not a constant thing. Due to my schedule, my life, my varied interests, i’m not always painting. In fact, sometimes i don’t even have a studio. When i’m not painting, i don’t rent the space. If I’m going to spend a year working on a book, as i did last year – then i don’t spend the money renting a space i know i won’t be using. Anyway, my point is, since getting back into the studio around April of this year, I haven’t really felt that thing. That thing that normally fuels my need for a creative outlet in the first place. Whatever that thing is. I’ve done 4 paintings since April and while i’ve liked them all, some more than others, i’ve yet to get into a groove this time. Each painting i’ve done looks nothing like the one that came before it. And while i’ve long accepted that i’m not a “series” artist, I’d still like it if my style would find some consistency. This new painting, which i think i finished last night, feels right. It was very experimental in how it came to be; while i had an endgame in mind, it took a lot of playing with controlled (happy) accidents to get me there. I enjoy painting the most when i’m not sure how to get to point B and i’m just throwing paint at the canvas… sometimes quite literally. I also like using a variety of mediums. If you’ve read this blog before, you may already know that i use wood stain a lot, mixed with my acrylics and spray paint. But lately, I’ve been using chalk, charcoal and pastels for my line work on top of the paint – which has been a success… i think. This painting has it all. And I’ve also been working bigger than i ever have before. This painting and my last one are both 4 feet, square. A fun size, although more fitting for museums than someone’s living room – which poses a problem when trying to sell the work… oh well. So here it is. It’s called “The ‘Say I Won’t’ Mask.”


Interestingly enough, while i finally feel like i may be hitting my stride – i’m about to attempt a series (I know) on local fire escapes. Don’t ask. Hopefully i’ll be posting those soon enough and you can see what i’m talking about. It will be a completely different direction. Because that’s what i do – i hit my stride only to change direction for no apparent reason. Artists. Am i right?

Anyhoo, about the painting. I hope you dig it. I dig it. I can see a lot of my influences in it from other artists like David Choe & Bask (2 artists worth looking up if you’re not familiar) as well as an overdue union of things i’ve been doing separately – like the use of text with a less controlled method of color application. There was a time when i hardly ever used brushes, everything was spray paint, while lately i rarely touch a can other than the stenciled letters and a few experiments under the surface. Here’s a detail:


A little blurry. Sorry. But gives you an idea of some of the little details within the piece. The above detail shot is probably around 80% from actual size. That’s Hot Stuff on her shoulder there. There’s also a Tex Avery inspired wolf in the upper left that you might could make out on the first photo. And there are a couple other things scattered about.

So that’s that. Not sure when i’ll post again. Starting on this fire escape thing next. I’ll hopefully be showing this painting at a gallery soon. Per usual, everything is for sale – if anyone’s interested, shouldn’t be that hard to track me down. Thanks for reading. – jbn


Alrighty, new piece. A true mixed bag of ideas and mediums, which honestly is something i was trying to get away from as my ideas tend to go in a direction away from those with disposable incomes… alas, it’s hard to get away from who you are. Let’s take a moment and reflect on the wisdom of my words.

So as i mentioned on the last post, i’ve been trying to pursue my fine art in much the way i pursue my commercial work. Which is, i want to create pieces that people actually want to purchase without sacrificing my own style to get there. Am i selling out? Hell yes. Through my own observations, this meant creating pieces where the meaning was not quite so abstract, something more broad. Or even without meaning, something just pretty. Pretty is good right? What could be wrong with pretty? Point is, i find that most art buyers aren’t so interested in big ideas as much as they are work that just looks dope in their living rooms or kitchens. And i’m okay with that as long as i can inject the work with something that makes it uniquely mine. And it should be noted that i’m not knocking this art-buying mindset. I have a similar mindset when it comes to music – i just want something i can get down to, i don’t want to decipher the lyrics or learn about the bass player’s political interests.

However… that approach to making art… well, turns out it’s not easy.

So this piece, it’s not that. This piece is for those that want to ponder my choices for all eternity. For those that need to see something new every time they look at it. For those that want a conversation starter as much as they want to tie the room together. My people. Bask:


There are ideas in this thing that go from nautical to criminal, i’d rather not go into the specifics. Why spoil it? Here are some detail shots that are closer to actual size, ’round 80%. The painting is 48 X36 inches. Enjoy:

struggle_detail3 struggle_detail1 struggle_detail2So this badboy will be on display at the next gallery crawl, still a month away, where i’ll also be selling copies of my book.

Hopefully i’ll see some of you fine folks there. Until then… thanks for reading.


Okay, new painting. Yay that. I’m back in the studio for a bit, not sure how long this time though. Making art, as crucial as it is for my sanity, is a money and time eater. Two things i don’t have. Alas, since i’ve been painting again, i’ve completed two and sold one so not too shabby i guess. As i get older, my ceiling for the perception of success gets increasingly lower. Anyway, the one you’re about to see is the one I sold; I’ll post the other one in a few days.

My cycle of creative pursuits is nearly always the same. I work in the studio for a few months, creating a solid body of work with a similar theme. Then I have a show and try to sell the work before leaving the studio to pursue something else – for example, last time, that “something else,” was my book which you can purchase or read about in the posts below this one. Working this way allows me to reset my brain, creating chapter breaks within my fine-art production – these breaks allow for me to come back to the studio with a new set of ideas so my work stays fresh and i don’t get bored. I mention this because for the first time in several years, this break method didn’t work. I came back to the studio with several ideas but no real direction. I wanted to try to create a body of work that would appeal to the art-buyers of the world without compromising my own style and interests. Finding that blurry line has been easier said than done. The first piece I did, the one you’re about to see, was a success. The imagery had enough of me in it that i was happy to sign my name to it while the subject was broad enough that i felt it would sell easily. However, i’ve found that line is not an easy one to walk while simultaneously keeping my interest.

Yesterday was an event here in my hometown called Blend of the Bayou – a nice little gig with food and drink and general merriment where local artists try to sell their digs to a crowd of mostly well-to-do types. Fine by me. In fact, this event is what sparked me to get back in the studio and what put me on the path to try to create some crowd-pleasers that still maintained my personal style. I intended to have more than one finished for the event, but as i mentioned above, walking that line wasn’t easy. The second piece i finished has a lot more of me in it – not entirely on purpose – which took it out of the running for Blend of the Bayou. And i don’t mean to segregate or stereotype, this is simply a case of knowing your audience. I’ll show the other piece at a gallery soon where a more diverse crowd will have a chance to see it. Moving on…

So, as usual – my backgrounds are semi-controlled, educated-accidents of chemical reactions and gravity. I work on the floor, not on an easel. I use my hands as much as i do brushes. And i use spray paint and wood stain in ways the manufacturers never intended. Also, i like using words in my paintings – always have, probably always will. Choosing the right word(s) isn’t always easy. But for this one, I was working with the idea of idle hands so the word “restless” just seemed like a natural fit. Plus it’s a word i just like – it defines me more than it should. Okay, before i turn this into a counseling session – here’s the background.


“REST” was done by scraping the wet yellows off, to show the dry oranges underneath, using stencils i cut out of old art-prints of mine that never sold. Was that the saddest thing you ever read? Two tears in a bucket. “Less” is straight-up orange spray paint (i know it doesn’t look orange in the photo but trust me). The top area, the blue, is made up of several things including chrome spray paint and even some oil paint. The darker spots are done by mixing in some wood stain. I’ve always liked the look of weathered textures – i’ve been perfecting this vibe for years – so background done. Time for the foreground, an illustration of hands that i originally planned to do in chalk but ended up doing in oil pastels. I’ve always loved drawing hands, mainly because it’s always been such a challenge. I did the following piece a few years ago:


You can get that badboy off society 6.

So, the hands – and the finished piece:


I’m happy with it. Hopefully the nice couple that bought it will find a good spot for it. It’s 36 X 48 inches for those interested. And speaking of society 6, if i can get a good quality photo of it, i may put it on there. I originally planned on doing several pieces with hands or other various body parts but i really only have one more planned to do, making it the shortest run of any themed work i’ve ever done. What can i say, i get… restless.

Until next time true-believers.

BJ in the Bare

So… 2 weeks before the show. Invitations have been sent. Eblast goes out in a few days. But as i said in the previous post, getting ready as far in advance as I have (not entirely by choice, mind you) gave me too much time to think; too much time to consider ways to make the show better – this is a bad thing considering i could/would never get to the end of this process. One of these considerations was to make a Louisiana themed piece. I rarely make the effort to show anywhere else nowadays, and although i happily acknowledge that i sell my paintings and prints all over the world, I more or less, never take the time to come out of my cave here in Monroe. So I thought, I should represent the South in some way, the other LA specifically. So after about 9 seconds of brainstorming, i had an idea. An idea partially sparked by the fact that Shepard Fairey painted a portrait of the president a few years back. I mean, that’s big. Fairey, if you don’t know, is the OBEY Propaganda guy. He’s a street artist that made it big – to simplify. Soooooo, I thought i would go down a similar path and paint a portrait of our beloved Governor, Bobby Jindal. Bobby J! BJ! The Beeej. I’ll stop. Here’s a photo:


There he is. I really hope he runs for president one day. I know zero about him as a person or politician but it would sure raise the price of the piece you’re about to see. Besides, he couldn’t possibly do any worse than the rest of them. That was my endorsement.

Now, what to do? First, i wanted to incorporate Louisiana elements into the mix. The stereotypical things – alligators, crawfish, fleurs de lis, all that. But how? Well, that part was easy. As i’m sure you all know, I keep it gangsta… Just let that sink in. So with my own personal tastes in full swing, I decided to tat-up Mr. Jindal real good. Only problem: I just had the image above to go by – not much skin there – wait, did i say that was a problem? Luckily, me and the Gov have a similar lanky build. Exhibit A:


I know everyone is excited where this is going. Yep, that’s my torso in my kitchen, and there’s my dog’s bowl. I removed my belt and slid the chinos down nice and low. Because that’s how I do.

So now we have a nice blank, palette for Louisiana themed tats. Oh, and you’ll notice i’ve reincorporated the L.A. hand sign for my own selfish agenda. IE, genius.

So from there, I took the photo into illustrator to place the tattoos and draw what would later become the officially licensed Bobby Jindal stencil. A stencil i would cut by hand, on the floor of the kitchen seen above. And it goes a little something like this:

JINDALI know what you’re thinking, you’re thinking, “J, I can totally see that hanging in the white house one day.” Or maybe, “J, perhaps you should run for presidency on the merit of your own artistic genius.” To which I say, “You’re too kind, but there’s no political affiliation on the ballot slip marked ‘BALLER.”

So the finished piece would be on wood. After finding the perfect shade of Jindal, i stained the wood. And i knew from the get-go, I wanted the background to look like a wall that had been tagged and re-tagged over and over. So after I hit it a few times, I employed the steady hands of the wife and boy… bask:

bj_blogSo that’s that.

Republicans everywhere, rejoice!

The show is just a little over 2 weeks away. Still a little work left to go. Some surprises here and there. Maybe a new street piece… who’s to say?

Thanks for reading – jbn.

Confronting Ghosts

So. I got the idea to do a couple of smaller pieces for the upcoming show. Pieces that i can price at or below $100. I live in a relatively small town in the south, not exactly a creative hub, where the size of a painting is directly related to the price – whether it should be or not is up for debate. So I had 2 very clear ideas for what i wanted to do. One design was of a woman in her under garments, smoking; had a very film noir vibe to it. The other was of a couple kissing on a motorcycle. Neither concept would find it’s way to completion. Not for a lack of trying.

The smoking woman looked okay, i just didn’t like it. So while the paint was still mostly wet, i added a little paint thinner, a little wood stain, a little pearl-x silver powder, and some dabs of paint (dark reds and yellows mostly). The idea was to create a background for a foreground i had yet to come up with; somewhat hoping the background would inspire said foreground… it did. The end result looked like the texture of one of those antique, silver photos. Now the goal was to find or create an image that worked with that vibe.

It should be noted that i keep a vast catalog of imagery that i find interesting and/or inspiring. Photos, illustrations, architecture, vehicles, fashion, animals… and for some reason, a lot of hipster women and riot photos. I collect these images as i randomly come across them online. I’m rarely looking for an image, they usually find me. Many have found their way into my paintings in one way or another, usually in an undetectable way. I’ll turn photos into stencils or elaborate on an idea or mood and so on.

So once i had my background, i had a good idea what image i wanted to use and how.

I’ve used that photo transfer method a couple of times now. Still learning. In fact, that reminds me, take note readers: wood stain has so many uses that have zero to do with wood. Anyway, the image i had in mind was a haunting photo of soldiers wearing gas masks, standing with their horses. Not sure who gets credit for the photo or where i found it, but it goes a little something like this:


Dope, right? I do have a thing for masks. My psychiatrist says it’s because i’m always hiding behind what others expect of me… just kidding, i don’t see a psychiatrist… anymore… she won’t return my calls. Mental illness is nothing to laugh about. So here’s what i did with the photo. Bask:


Once i applied the image and all was well, i was stuck. It looked cool but, like the smoking woman that preceded it, it didn’t have that thing… that X-element that makes it mine. So as i often do, i took it into the computer and started playing. The glowing eyes were a must. Done. But what else? I had it! A My Little Pony stencil right over the top. I’m not kidding. I designed it and everything. Thought it would work with my innocence vs. angst thing i’m so fond of. And it might have worked if only i could’ve found a placement that didn’t seem to interfere more than assist. In the end, the grid was a simple solution that gave it some perspective plus a Tron-vibe that every vintage photo needs. Most importantly, now i felt like it reflected my tastes. This whole art thing is an experiment in narcissism.

The canvas is 12 inches, square. I titled it “GHOSTS.” Here’s a detail:


So that’s one. The other i won’t be showing just yet. Nothing to show really. Basically same back story. Nearly completed the painting, wasn’t feeling it, started over and a great background was born from the process. Phoenix metaphor yo. Only the background in question has yet to reveal what sort of foreground it needs. This background/foreground thing is probably a very limited perspective… i’ll work on it. In the meantime, i thought i would show you fine people the front of my mailer advertising the upcoming show. This will also be the look for other marketing materials, as well as the new look for my gutterpark site (already updated). I’m calling the show “confrontations” which is what i consider each of my pieces to be. If not for the viewer, certainly for me as i create them. Originally i was calling the show “Black Guilt” but that got tricky for reasons i won’t go into – then i considered “Kid Gloves. Brass Knuckles” (which is from a Doomtree song) but i think i’ll save that one for the inevitable coffee table book that Taschen will publish after my untimely death.


Until next time. Thanks for reading. – jbn

The Storm (The Plexi Piece)

I enjoy change. I really do. In just about every facet of my life, i enjoy the new. I won’t go into examples. But this perspective helps me pursue different creative challenges. “Challenges” is too strong. I don’t exactly break out of my comfort zone. I’m fully aware of my skillset and more importantly what tools are not in said set. You’ll never hear me bragging about my new sculpture for instance. The last one i made was in school and it’s horrible. My mother has it i think. She’s probably ashamed to display it. Or maybe she thinks of it as an abstract ash tray. Point is, i work better in 2 dimensions and am happy to stay there, um, in that dimension.  I have completely lost my point. Anyway, my new piece is nothing new as far as execution goes, but the creative process was very different. It was my first time working on something transparent, red plexi glass to be specific. But i didn’t want to treat the surface as just another surface. I wanted the translucency of the material and the color to have meaning within the concept. Being that the color is red, and my tendency towards bleak imagery, chances were very likely (in the concepting stage) that the red would be used as blood. I fought against that at first. And in all fairness, the image i came up with doesn’t use the red in some obvious way depicting violence or something, it’s subtle… i think… but the fact is, it’s red, it’s liquid – the brain puts the pieces together pretty quickly.

Oh, before i show this thing – taking a photo of a piece that looks best when there’s a light source from the other side, yet not really having a light source other than the ceiling lights… well… the photos left a lot to be desired… alas, feast:


I left the background in the photo (i usually crop the work flush) so you could better make out the transparent nature of the piece. I’m going to give it another coat of the grey before i call it “done” so no light shines through that area as it does a bit now.

The concept of the piece was secondary to showing off the nature of the plexiglass, or maybe the nature of the plexi dictated the concept. I don’t know. But I knew that using the red as blood was a bit lazy, creatively speaking – that’s where the balloon comes in. Plus, it plays with that innocent vs. angst thing that i’ve made my own. I initially thought the skull and crossbones was a bit of an overkill, and i still do, ironically that’s what pushed me to do it… subtlety has it’s place… you can find it in the girls expression, in the simple ripples, in her posture… but there needed to be something with teeth, the stranger who bumps you hard as he walks past you without so much as an apologetic glance.


The lights of the gallery shining through.

It’s a big piece, 4 feet tall by something.

Here’s a another shot really showing how the light effects the design.


Well kids, that may be it for the show. I have 13 pieces in all. I actually have 3 more that i may complete before December (they’re just in my head for now) but as far as filling the necessary space for a solid solo show, i have enough. Next step is to design a bit of self-promotion. Definitely going to make a mailer, maybe an e-blast, maybe a short promo-video. I’ll post that stuff as i do it. Depending on their approval, i’ll post some logos i’ve done recently – but other than that, there may be a bit of a posting reprieve. I’m hopefully about to start on a new project that i don’t want to go into detail about just yet, but once it’s further along, I’ll share. Hope you enjoyed reading about my process, seeing the pieces and the steps towards this show. If you’re in the area or even if you’re not – put it on your calendar now – first thursday in December, the 5th – Upstairs Gallery – Monroe, La. – Reception that evening.

Thanks for reading. – jbn


Been a bit of a gap since my last post. I’ve had a lot of freelance lately; logos and such. Once those are approved, i’ll post them so this blog will be more than just my flights of fancy, but actual commissioned work. Commissioned means money and money is the one thing that keeps me from my studio – good for paying bills, bad for my soul. A worthy tradeoff maybe. There are mouths to feed. Alas, i do have a new painting to show. And hopefully by next week, I’ll have another – that one, if successful, may be the last painting in this show i’ve been preparing for. We’ll see… in the meantime, this one is called DREGS.


You may remember this piece from a couple months back.


It shares the same concept and process. To simplify: a world of rich color (a metaphor for something i’m sure) interrupted by the mundane options or choices of reality. Hmm, i’m seeing a parallel now between this and my opening paragraph. Moving on…

The success of DREGS  – maybe “success” is the wrong word – the completion of DREGS is a bit of a surprise. I mean, that it was completed so easily. I’ve worked with the process of doing a figurative piece on top of an abstract before but normally, the abstract part is a bit hard to contain or control… happy-educated-accidents at best – but with this one, i was going to literally cut into the abstract part with the figurative part and i was certain that wasn’t going to go smoothly. Alas, it kinda did.

I used this goop designed to work as a cracking agent when combined with another goop. Only i didn’t use the second goop. Nor did i want cracks. I just used it as a liquid to flood all my colors on top of. This was sort of a spontaneous thing as i looked around my studio for things to add to the color palette. It dried slowly with a plasticine quality. Hopefully it won’t discolor over time as resins sometimes do. Actually, resin is what i would normally use for an idea like this but now i think that not using resin is why it worked. Once i lifted the stencil where the figure would eventually be, i was sure all the paint was going to flood in – it didn’t – had i used resin, being considerably heavier, it probably would have.


I work within the theme of innocence vs. angst – i always have – it wasn’t an intentional thing initially, it’s still not, but i see it in my pieces all the time. This piece has that in more of an abstract way – the innocence being the display of color on the right. It’s like when the wizard of oz changes from black and white – only with this piece, dorothy is still monotone even though her world is not. Like she’s aware its’ just a dream and her awareness won’t let her fully appreciate or cooperate within it. Sorry, got all philosophical there. Here’s a close shot of all that color followed by a side shot.

dregs_color dregs_side

Next week i’ll be sharing a piece that i’m doing on plexi glass – a first for me – it may be a fantastic disaster… stay tuned. Thanks for reading.


So i found the following image online and really liked it. The mask, the running, the reality, all so urgent, dangerous and visceral. Plus, rebellion is a great thing to capture in art i think.

rioterLet me digress for a second. I found this science-project-style, wooden, display board in a dumpster at a school about a year ago, maybe longer. It was fairly large, three panels, complete with hinges. I dug it out of the dumpster and it’s been sitting in my studio ever since. For my upcoming show, i couldn’t justify spending any more money on canvases – for all intensive purposes, art has yet to pay so i cut corners where i can… so i decided to take off the hinges and try to use the pieces of board as canvases once an idea struck. Took a long time for an idea to strike that worked within the shape of the boards. And in that time, one of the boards got damaged, i used another one to test colors on, but luckily the third survived and now we have this…

filigree_riotIt’s pretty long, maybe 5 feet… 4 at least. I should measure these things before i do these posts.

I went through a spell where i was using a filigree pattern all the time. It reminds me of fancy wallpaper that you would find in a luxurious hotel or something, so I liked the imbalance of using it within my crude and sometimes ghetto-influenced paintings. Juxtaposition, that’s the word. Anyway, filigree in full force in the background. Originally i was going to put them in the “smoke” too, using a different color combination but I got to a point where that felt like a design decision and not an artistic one. People that live in both worlds as i do probably struggle with the difference. The blur between.

filigree_riot_detailAnother design change that happened sort of on the fly was the color i used for the rioter. I had always intended to use the unpainted wood as his “fill” but i was going to do the detail work in black. However, once i finished the background, it seemed like black would be too much. I didn’t want to draw the eye to the figure any more than his position on the canvas and his difference in color already would. I didn’t want the background to be just a background.

filigree_riot_detail2That shot is a bit blurry, sorry. But you can see the wood grain and some small nails that go up the middle. It’s not a thick piece of wood. The whole thing is fairly light actually. The edges are rough. I’ve already gotten a couple splinters handling it. Maybe i’ll knock the price down for any potential buyer to help pay for bandaids.

Only a couple more paintings to go before i jump on another project that’s very dear to me. I’ll keep you posted. Thanks for reading. – jbn


I’ve attempted a series once or twice with little luck. The most i can seem to milk out of a single idea or theme is about 3 paintings… hardly a series. Nowadays, I choose to use the term “body of work.” It’s looser. It doesn’t imply a theme so much as it hints at a common thread. This thread could simply be the artist in question. For my upcoming show, the thread is more about technique and a certain approach and color palette. I bring this up because my latest piece was deliberately designed to accompany another painting. You can find that one here. And as complimentary pieces go, i’m really digging the set. I would probably do more if i could think of more. Time will tell. For now, I’m happy with the bookends that are Liar and Addict. Here’s how Addict started…


Of course, it started with an idea… but it’s easier to document the execution process than the incubation process (no pun intended). The top image shows the girl stencil already done in a pale blue over acid green – the bottom shows the caterpillar washed in yellow (which should have been done first but it worked out) and some of “addict.” I didn’t have the “Liar” painting handy as i was doing this one so some of the similarities were done by memory… The background could use a little more distress.

So as the Liar piece was an ode to Pinnochio – this one is Alice In Wonderland. The connection may not be completely obvious… although enough that i don’t feel the need to explain. Think mushrooms, pipes and talking, many-legged critters. And of course, our protagonist.  Here it is, finished:


I may go back and thicken the black lines a bit. She may need a little more detail in the hair too. There’s a faint hint of white along the back of the bug, my attempt to create the curvature and slickness of caterpillar skin; not sure you can see it in these photos. Here’s a close shot:


Thanks for reading. Next week, no bugs.

Fur and Feathers

Hi all. I wanted to share 2 recent pieces that won’t make my solo show in December. Not that they’re not good enough for the show – they just don’t have that thing – that undefinable characteristic that will hopefully tie my show together. This first one has already sold, big yay for that. It’s called Tom Savage.  It looks a little something like this:

tomsavage I can’t really explain this but when i come across these old frames, my first instinct is to design some sort of animal figure for it. This isn’t the first time, see “Birdhead Jones.” This frame was donated to me (thanks Vic), my brother-in-law cut the wood for me (thanks John), and the rest was done in photoshop and applied using acrylic transfer. I spraypainted the wood gold, just under where Mr. Savage’s head is; i figured it would make the facial area more pronounced somehow. Not sure it made a difference. Whatever. Turned out pretty good anyway.

This next piece hasn’t been shown yet. I like it but it’s all image and no concept and thats not doing it for me. Luckily, most art buyers nowadays, at least around my neck of the woods, are WAY more concerned about how a painting ties a room together versus it’s meaning. So with that in mind, i’m hoping it sells at the next gallery crawl so it can finance the rest of the show. Otherwise I’ll probably paint over it – which would be a huge drag because i have nearly $100 invested in this painting already. For those keeping score, It was originally my Hitchcock piece which never saw the light of day. It’s called A Murder of Crows, naturally.


The background is made up of silver and chrome. The chrome is at the top, dripping downward, silver everywhere else. The branches and birds are a combination of stencil and freehand. It’s very textural and very reflective – hence the loss of detail on the top right where the light is hitting. It’s rather large too, like, 4 feet wide i think.

That’s it. Thanks for reading. – jbn