From Studio to Crate: An Update on the Hawaii Paintings

The two Hawaii commissions, Carried by the Trade Winds and Hula at Sunset, have now reached one of the most satisfying stages of the process: they are completely framed, out of my studio, and with the crating company preparing for transport.

These paintings have been a significant undertaking from the beginning.

Carried by the Trade Winds is the larger of the two, a 48 × 72 inch narrative landscape inspired by Kauaʻi. It brings together ocean, mountain, sail, outrigger canoe, figures, provisions, movement, and story in one large palette-knife painting. The challenge was to keep the landscape dominant while allowing the human elements to feel integrated rather than illustrative.

Hula at Sunset became a companion piece, quieter in scale but connected by place, movement, and atmosphere.

Once the paintings were fully cured, the next step was framing. Both pieces were taken to the framer and finished in warm walnut floater frames. Seeing them framed changed the work in the best possible way. The walnut adds warmth without competing with the color and texture, and gives both paintings a finished, substantial presence.

The framing is now complete, and the paintings have been transferred to the professional crating company.

That stage matters more than people sometimes realize, especially with large, heavily textured original paintings. A piece like Carried by the Trade Winds cannot simply be wrapped and placed in a standard shipping box. The paintings need to be carefully protected, secured, and prepared for transport so that the surface, frame, corners, and structure remain safe throughout the journey.

The crating team is documenting the process with photographs, and once the crates are complete, transportation will be scheduled and I’ll receive the final delivery ETA.

At this point, most of my work is done.

The paintings have been imagined, developed, painted, cured, framed, photographed, and handed over for professional transport.

Now they begin the final part of the journey: leaving California and making their way to their collector.

There is always something slightly strange and wonderful about that moment. A painting can occupy so much physical and mental space while it is being made, and then suddenly it is no longer in the studio. It belongs to someone else’s life.

These two pieces have been especially meaningful because they pushed my commission practice further into narrative landscape painting — work that holds not only a place, but movement, memory, story, and human presence.

I’ll share another update once the crating is complete and the paintings are officially on their way.

Interested in commissioning a painting inspired by a meaningful place, memory, or story?
You can learn more about my commission process here.