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Scagliola

In the spring of 1997, I attended a fund-raiser in New York City for the Academia Caerite, a small summer-arts program based in Ceri, Italy, an hour north of Rome. I was there to support my fresco teacher’s efforts to further the practical study of ancient arts. Upon entering the event I noticed a delicate panel, approximately 5x7 inches, being raffled as a door prize.

It was unlike anything I had ever seen. As a scenic artist-come-mural painter and faux finisher, I have a skeptical eye for faux marble. This panel had the black, glossy, smoothness of Belgian Black, the favored background for Italian “Pietra Dura” inlaid marble. Into the surface was carved a simple flower in delicate colors. The finish revealed no traces of brush strokes, deliberate veining, or any of the other telltale signs of a faux finish. The panel was cool to the touch, just like marble. Yet, had it been real stone, it would have had seams where the inlaid pieces joined. I asked the director what it was and she replied by inviting me to come to Italy and study the technique.

I missed winning the raffle that evening but was instead rewarded with a much rarer prize: an introduction into the beautiful and closely-guarded technique of Scagliola.

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Murals

After graduating from Rutgers University’s Mason Gross School of the Arts in 1988 with a BFA in Design for Theater and trying my hand at the scenic arts, I began painting murals in private homes, restaurants, and other public spaces. Over the course of a 25-year career, I completed numerous commissions including murals for the Newark Museum, The Columbus Citizens Foundation, and various projects from New Jersey to North Carolina pictured in the photo gallery to the right.

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Fine Art

The decorative arts put food on my table, offer the challenge of collaboration, and allow me time to work on paintings of my own choosing.

	Oil Painting I started painting in oils with the encouragement of local artist, Bob Doney. (He gave me my first set of paints and brushes). But, I didn’t start to understand the medium until further studies with David Cook. Since then, I have painted primarily landscapes and still life. I prefer to work “en plain aire” as the french say, or directly from the subject, outdoors. My subjects range from Venice, New Orleans, and Switzerland, to the nearby Delaware River. Lately, I have been exploring flowers painted directly with heavy impasto. After I discovered the work of Tad Spurgeon I began using his methods of hand-refining linseed oil, combining it with marble dust to form a translucent putty. The method is solvent-free, archival, and allows me to alter and adjust the medium to suit my needs. I’ve also begun using traditional gesso on linen either on panels or stretched. Again, with a focus on process I find I’m able to have a dialogue with my materials, responding and adjusting as the work progresses. For my thoughts about this an other subjects, follow my blog, “where thou art”. James has been teaching since 1990. Sign up for one of his workshops or private classes here. Commissions on request. Inquire for prices.
	Watercolor Painting I first studied watercolor in high school with the late Connie Jost. It has intrigued me ever since. I had further study at Mason Gross School of the Arts, Rutgers University while earning my degree in Scenic & Costume design for Theater, mainly for renderings. Over time, I began to enjoy the immediacy and portability of the medium, taking my paints on my travels, or setting them up in a minute on my desktop on a moment's notice. (Many of these paintings are postcard sized). The simplicity and spontaneity of the medium lends itself to figure drawing as well, and has allowed me to explore more direct, gestural work. In 2014 through Totts Gap Arts Institute, I began a concert series combining live, improvised jazz and modern dance. Artists were encouraged to document the movement, in drawing, painting, photography and video. These spontaneous sketches have an almost calligraphic effect, where each mark is a dynamic element on its own. In 2019 the paintings were exhibited at the Antoine Dutot Museum and Gallery Muse Dancers 2016 Muse Bass 2015 [{readmore:More\|readon}]
	Fresco Fresco is probably the oldest form of painting, its history dating to antiquity. It derives its name from the word “fresh” as the pigments are applied to freshly laid mortar, a mixture of lime and sand or marble dust. Painting must be completed while the mortar is wet, in one day’s work or “giornata” in italian. And since every stroke is visible in this highly transparent medium, work must be both quick and accurate. (Michaelangelo is believed to have chiseled off an entire section of the Sistine Chapel he was dissatisfied with in order to repaint.) I first studied in a one-day course at Rutgers University. Further study led me to New York’s Parsons School of Design with Sheilah Rechtschaffer. I continue to research and practice the technique when time allows. [{readmore:More\|readon}]
	Figure Drawing I studied Figure Drawing with Lloyd McNeill and Ilya Shevel at Rutgers University. They each had different approaches. Lloyd emphasized the power of the mark, informed by his own studies of Japanese calligraphy, as well as composition, and the integration of ideas from other arts, especially music. Classically trained, Illya had a more traditional approach, with an attention to rigorous study. Much was learned from each. I’ve kept up a weekly practice ever since. In fact, one of the first things I set up at Totts Gap Arts Institute was our open session to keep my skills honed. Lloyd encouraged the use of different media, and I have worked in pencil, charcoal, watercolor, ink and Conte Crayon. Inspired by artist and friend Eleanor Shelton, lattely I’ve been working in colored Conte pastel on Canson paper. [{readmore:More\|readon}]

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	Oil Painting I started painting in oils with the encouragement of local artist, Bob Doney. (He gave me my first set of paints and brushes). But, I didn’t start to understand the medium until further studies with David Cook. Since then, I have painted primarily landscapes and still life. I prefer to work “en plain aire” as the french say, or directly from the subject, outdoors. My subjects range from Venice, New Orleans, and Switzerland, to the nearby Delaware River. Lately, I have been exploring flowers painted directly with heavy impasto. After I discovered the work of Tad Spurgeon I began using his methods of hand-refining linseed oil, combining it with marble dust to form a translucent putty. The method is solvent-free, archival, and allows me to alter and adjust the medium to suit my needs. I’ve also begun using traditional gesso on linen either on panels or stretched. Again, with a focus on process I find I’m able to have a dialogue with my materials, responding and adjusting as the work progresses. For my thoughts about this an other subjects, follow my blog, “where thou art”. James has been teaching since 1990. Sign up for one of his workshops or private classes here. Commissions on request. Inquire for prices.
	Watercolor Painting I first studied watercolor in high school with the late Connie Jost. It has intrigued me ever since. I had further study at Mason Gross School of the Arts, Rutgers University while earning my degree in Scenic & Costume design for Theater, mainly for renderings. Over time, I began to enjoy the immediacy and portability of the medium, taking my paints on my travels, or setting them up in a minute on my desktop on a moment's notice. (Many of these paintings are postcard sized). The simplicity and spontaneity of the medium lends itself to figure drawing as well, and has allowed me to explore more direct, gestural work. In 2014 through Totts Gap Arts Institute, I began a concert series combining live, improvised jazz and modern dance. Artists were encouraged to document the movement, in drawing, painting, photography and video. These spontaneous sketches have an almost calligraphic effect, where each mark is a dynamic element on its own. In 2019 the paintings were exhibited at the Antoine Dutot Museum and Gallery Muse Dancers 2016 Muse Bass 2015 [{readmore:More\|readon}]
	Fresco Fresco is probably the oldest form of painting, its history dating to antiquity. It derives its name from the word “fresh” as the pigments are applied to freshly laid mortar, a mixture of lime and sand or marble dust. Painting must be completed while the mortar is wet, in one day’s work or “giornata” in italian. And since every stroke is visible in this highly transparent medium, work must be both quick and accurate. (Michaelangelo is believed to have chiseled off an entire section of the Sistine Chapel he was dissatisfied with in order to repaint.) I first studied in a one-day course at Rutgers University. Further study led me to New York’s Parsons School of Design with Sheilah Rechtschaffer. I continue to research and practice the technique when time allows. [{readmore:More\|readon}]
	Figure Drawing I studied Figure Drawing with Lloyd McNeill and Ilya Shevel at Rutgers University. They each had different approaches. Lloyd emphasized the power of the mark, informed by his own studies of Japanese calligraphy, as well as composition, and the integration of ideas from other arts, especially music. Classically trained, Illya had a more traditional approach, with an attention to rigorous study. Much was learned from each. I’ve kept up a weekly practice ever since. In fact, one of the first things I set up at Totts Gap Arts Institute was our open session to keep my skills honed. Lloyd encouraged the use of different media, and I have worked in pencil, charcoal, watercolor, ink and Conte Crayon. Inspired by artist and friend Eleanor Shelton, lattely I’ve been working in colored Conte pastel on Canson paper. [{readmore:More\|readon}]

Along the Delaware

Oil Painting

Watercolor Painting

Fresco

Figure Drawing