It is almost embarrassing that a Canadian artist has taken so long to do a piece of someone as cool as Leonard Cohen.

This piece came from two entirely different points of inspiration; The first was a statement recently made by a gallery that decided not to carry my work because it was too dark. Later that same day, the universe threw me one of my favorite Cohen songs – “You Want It Darker”. Just like that, the Leonard Cohen seed was planted.

As I researched concepts, I decided to give a literal “hats off” to one of the people that has helped me get to where I am today. She once told me that Cohen was one of her favorite entertainers and I would often follow up our meetings with – “and then we take Berlin”

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Another day – another Motley piece. This one was more about trying to convey some movement, chaos, and emotion. This piece followed a recent Slash piece that was also dripping with a rock 'n' roll attitude. I enjoyed doing it so much that it needed an addendum.

The approach was a little different for me as I went with a loose style rather than my usual realism style to help with some of the emotion and movement. Tommy himself is always such a great subject as he, like Slash, seems to have rock 'n' roll seeping out of him – he can't help but be the poster boy for the tattoo that is tattooed across his abdomen – Mayhem.

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I probably needed to do another Stones piece as much as I need one more bourbon at last call…but both will probably continue to happen.

By this point, there is no use in me talking about the Stones and their influence on music and pop culture. So, I'll just say that this piece is simply me wanting to do an action piece of Keith in the Medusa-style sub-series that I have come to enjoy creating.

I’m a sucker for an image that is dripping with attitude and grit. When I came across Robert McKnight’s photo series of Slash sitting on some stairs with a cigarette sporting an extra-long ash, I knew I had to reach out and get the proper permissions to reimagine it as a Stickman-style painting.

Although I have painted Slash many times before, this was the first time I took an approach to him in Velvet Revolver. I'm sure it doesn’t change much for the viewer, but due to the studio's playlist, research, and overall vibe of the piece, the artist almost seems like a different person. This phenomenon has happened a few times with artists such as Ozzy and Maynard James Keenan.

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The brilliance of Prince is always mesmerizing to me. I've often talked about how he played every instrument on his debut album at only 18 years old—as someone who doesn't play an instrument, this is mind-boggling.

I've painted Prince a few times before but with those pieces tied up contractually with another publisher, I didn’t have one in my independent portfolio. I knew that had to change after coming across the Prince flagship store in the Minneapolis airport.

Anyone who has visited the store will immediately recognize the guitar centerpiece in this painting. It was the first thing I saw from across the shopping area and a beacon of light shone on it like a treasure in a movie.

As I entered the store, the big screens were playing Prince's legendary guitar solo of "My Guitar Gently Weeps" from the 2004 Rock and Roll Hall Fame induction ceremony with Tom Petty, Jeff Lynne, and Dhani Harrison. This performance has since been acclaimed as one of the most iconic moments in the history of the ceremony.

Anyone who has seen this performance, and knows me, will tell you there was no way I was leaving that airport without a new Prince concept.

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When I was scheduled for a show in San Diego, I decided to do a couple regional signature pieces for the occasion. The first was a no brainier in hometown hero Eddie Vedder, but when researching artist with close ties to the area, I came across Tom Waits. Although he wasn’t born in San Diego, his roots are deep as it's where he began singing on the folk circuit.

Tom is one of those characters that are unique in every way possible. A true artist's artist. His voice is unlike any other, his look is incomparable, and his writing chops put him up there with the greats of any genre of music. Tom is one of those cats that blurs all the lines of art - he is a composer, musician, songwriter, and actor.

I’m lost for words trying to describe this man so I will leave you with his introduction into the Rock and Roll Hall of Fame. Introducing him, Neil young said, "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling... I think it's great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits." 

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Twice before, the incomparable rock photographer Chris Cuffaro gave me permission to re-imagine one of his Eddie Vedder photos from the early nineties. So, when it came time to paint a signature piece of Eddie for a show in his hometown of San Diego, I jumped at the chance to contact Chris a third time. As before, he graciously agreed.

I’ve always loved the reference photo used for this piece because I feel it captures the grit and dissidence of the era while showcasing the exuberance and fun of the nineties (the bucket hat that was prevalent during that time is a happy addition).

As always, while conceptualizing this piece the universe (and Pearl Jam, I suppose) provided a great new soundtrack for the studio. A few of the high tempo tracks provided the inspiration for the background chaos…it was as simple as “React and Respond”.

As per usual, this concept developed from two different ideas. Ever since Baz Luhrmann’s movie “Elvis” was released, my love for Elvis was re-invigorated. It’s easy to find new love and inspiration for a character that goes through so many changes over the years – and the movie really made me more appreciative of the late sixties early 70s era. Aesthetically, it was the coolest version of the man for my tastes (wearing the black leather suit on the comeback special helped and shouldn’t surprise anyone that knows me or my art).

The other conceptual idea I had was to pay homage to the first iteration of the pageantry of music – the 45 single record. For my generation, this was usually our introduction to owning music. I have fond memories of running to Abbottsfield mall when I was able to scrounge together a $1.50. From here I had the idea to go back to a culturally changing moment (by now we all know Elvis didn’t invent rock 'n' roll – but he did assist in bringing it to the forefront of pop culture) and pay homage to Sam Phillips and Sun Records' release of Elvis' first single “That’s All Right”.

Jim Morrison was once asked what he thought of Iggy Pop and The Stooges – he stated that he endorses any music that makes the audience feel uncomfortable. Madonna has done that in spades for the better part of five decades. Her ability to re-invent herself almost continuously has kept her relevant, and the audience and critics on their toes.

I wasn’t much of a fan in the early to mid-80s as I was knee deep in heavy rock at that time, but I did start to take an interest in her theatrics and aesthetics around the turn of the decade into the early 90s. This highly sexualized version of Madonna had adopted a very provocative persona, utilizing a lot of patent leather and bondage imagery (when she was wearing anything at all), and extremely edgy lyrics around her Erotica album. This version of Madonna was amplified by her 1992 book “Sex” that was highly controversial for the time.

This rebellious era obviously played into my rock 'n' roll wheelhouse and playing off her often used religious imagery (and name), this double entendre concept practically painted itself.

I have a theory – regardless of your starting point, your appreciation for Tom Petty will always grow as you age. Since my starting point was high in the first place, saying I’m a fan is an understatement. The seed for this piece started shortly after his death in 2017. I was sent footage of the Florida Gator fans' heartwarming tradition of singing “Won’t Back Down” at the end of the third quarter at a UF home game. This tradition brings me chills every time I see it – it had to make it onto my canvas in one way or another.

This concept gives a nod to Tom’s hometown and Gator pride, but I also wanted to show how unapologetically rock ‘n’ roll this hall-of-famer really was. When I came across a photo from 1979 from famed rock photographer Adrian Boot, I immediately started the licensing process to use this image as a reference. The image contains everything esthetically cool about rock ‘n’ roll – long hair, sunglasses, bandana, leather jacket, snakeskin belt, pack of gigs, and most importantly, an expression full of attitude. This image could be a coat of arms for no nonsense rock ‘n’ roll.

Original: Available - Signed by Rick Nielsen of Cheap Trick

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About:
A few years back I embarked on a sub series of paintings depicting some of the most prominent instruments in rock ‘n’ roll. I, of course, started with arguably the most famous guitar in the world - Van Halen’s Frankenstrat - and from there expanded to Bonzo’s drums, Randy’s polka dot Flying V and so on. As I thought about Contactall the instruments whose fame was on a level with the performers who used them, Rick Nielsen’s ridiculous checkerboard five neck guitar crossed my mind multiple times.

Fast forward a few years and I received a call to participate in a classic rock festival in South Florida with Cheap Trick as the headliner. When the promoter expressed interest in me creating a piece to mark the occasion, I responded with an emphatic yes before he could even finish his sentence. I proceeded to tell him I’ve been planning this piece for years and “I’ll shine up my old brown shoes” and “I’ll put on a brand new shirt”.

This is another one of those pieces where the universe just kept shoving the concept at me. Over the last year, I have had a few events and opportunities that called for a Beatles related piece - this culminated in to my new John Lennon and new Ringo Starr inspired pieces. Both those pieces were done well in advance of the phone call I received in November asking me to participate in the international Beatles on the Beach Classic Rock Festival. My appearance and participation would have me attending numerous events, including a joint museum exhibit with the artwork of Ringo himself. This gravity of this event called for a signature piece, so I once again started to conceptualize a Beatles inspired piece. Just as I started to embark on this piece, The Beatles surprised the world with their new and last single "Now and Then" from a tape found of John Lennon singing the lyrics.

For the concept, I wanted the usual gritty Stickman style with the insects and worn Chucks (a nod to the Rubber Soul era) juxtaposed against the bright colors of the Sgt. Pepper era (the background of each member is the same colour worn on the famous admiral suits often worn in this era).

I’m not going to profess being a big Taylor Swift fan, that would be very disingenuous —I’m not a hater, just not really my vibe. However, with all the hype surrounding her and the Era’s tour there are a few things that started to hit home for me, and if nothing more, made me see her in a different light.

First, I’ll champion any artist who is instrumental in their art from cradle to grave. Taylor does this in spades. Unlike some pop stars, the fact that she writes, plays instruments and helps produce her own music immediately sets her apart from my perception of pop music. I would be remiss if I didn’t say these are the reasons I tend to gravitate to rock music.

Second, and most importantly, would be her fight for her music and her rights as an artist. This issue seeps into my world as well, with a lot of artists not having full control over their works. Her fight for her music is no different than Motley Crue’s own fight for their catalog that lasted for years. I can’t think of anything more rock and roll than that. The lyrics from the song “Vigilante” fit this narrative like a studded leather glove and was an easy title choice.

For the concept itself, I enlisted some Swifties for information on how I could make this piece a little more rock and roll and fit the Stickman vibe —they quickly suggested the Reputation tour as the era to focus on. Once I saw the knee-high leather boots and stage attire, everything fell into place and I had my concept.

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About:

On a perfect July summer day, two of my closest friends and I set out on the highway to say our final goodbyes to a dear friend. Two of us in my convertible sports car, the other on his Harley, barreled down the highway. It was a strange mix of emotions, we knew it would be a tough farewell since he was still young, but also that it would be a celebration of who he was. The perfection of that Friday afternoon added to the scene like it was carefully directed—even the shuffle option on my Apple Music felt the gravity of this trip as it laid out the consummate soundtrack.

As I watched my friend on his Street Glide Special backdropped by the rock music streaming out of my speakers, it felt like the image of freedom and rebellion that my art, and the rock genre in general, is all about. I knew at that moment I had to find a way to honor motorcycle culture’s synergy with rock ‘n’ roll. 

When I got home that evening, I set out to conceptualize my new piece. As I perused images of rock stars and their bikes, I was divinely struck by this image of Jimi Hendrix on a bike. My jaw dropped as I realized that my first bonding experience with the friend we laid to rest was a discussion about Jimi Hendrix while listening to “Crosstown Traffic”.

(Painting was titled by Scott Gutterman, author of “John Lennon: The Collected Artwork”)

It’s no secret that I have a slight infatuation with the music scene of New York in the 70s. With the emergence and intersection of punk, glam, disco and rock, it seemed like a magical creative place and time. I’ve leaned on this vibe numerous times in the past for concepts, so when tasked to come up with a signature piece for some upcoming shows and events in New York – I went to the familiar well once more.

John Lennon being a transplant seems like an odd choice for this concept, however, Lennon’s New York years throughout the 70s brought some of my favorite visual representations of him. Post psychedelia era, the NY “peace and love” years not only brought a new musical direction but a different style and vibe that I really gravitate to.

Lennon’s style during this period was a departure from the colorful explosion of the

Sgt.Pepper years as he traded in his iridescent green admiral jacket for denim and fatigues. This fit perfectly with not only the political atmosphere of the time, but also the monochromatic concept I had in mind. The drab fatigues sit perfectly in the wheelhouse of my preferred gritty color pallet.

One of my favorite parts of painting rock n roll is it has transformed me into somewhat of a historian. I don’t just paint this subject matter, it is a major part of my everyday life in the form of reading biographies, documentaries, articles, etc. The stories behind these iconic performers are just as inspiring to me as the songs they sing or the clothes they wear. This piece was born from one of the stories in Zeppelin’s lore.

In 1975 during Zeppelin’s Physical Graffiti tour, at a birthday party for their iconic drummer “Bonzo” - Robert Plant stepped out on the balcony of the Continental Hyatt house (known those days the “Riot house”) on the Sunset Strip, held his arms wide and proclaimed to streets below that he was a “Golden God”.

This act would forever be cemented rock history as a sample of the indulgence and even the ridiculousness of a touring band in that era. The story has been borrowed many times over the years and even found its way into Cameron Crowe’s epic 70’s coming of age movie Almost Famous.

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Miles Davis said, “It’s not the notes you play; it’s the notes you don’t play.” This is something you hear from musicians from time to time about the space between the notes. Artists also have a similar relationship with the power of negative space. Sometimes it’s the negative space in a piece that gives it its vibe. I’ve been conceptualizing using this practice for some time, and in this piece I was able to have much of the canvas close to empty.

Another Gord piece isn’t much of a stretch for a Canadian artist that focuses on living in a rock and roll space. This is pretty much a follow up single to my first Gord piece. In that initial piece, I wanted a fierce and intense version of the man who had vigilantly fought glioblastoma while he embarked on a cross Canada curtain call. However, for this concept I wanted to portray the other side of him. I wanted to capture that incomparable stage presence, the poetic ad libbing linguist, and the ever-complicated relationship with his microphone stand - who couldn’t understand that it wasn’t a man.

It’s arrogant to think you can speak for a large percentage of a population, but I’m probably not far off saying that a lot of us, at one time or another since his passing, have “looked up to the lord above and said, hey man, thanks”.

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About:

I wish I had gotten around to painting Taylor earlier, prior to his untimely passing. Being a huge fan of him as a musician, but more importantly as a person and as an ambassador to music, I struggle with how long to wait after a tragedy to pay tribute. After the two huge memorial concerts in his honor, I knew I couldn’t wait any longer - it was time. I went back and forth on what vibe I wanted, but ultimately decided on an upbeat celebration of his life. I can’t think of anyone in the industry who loved music more than Taylor, and he made such a significant contribution to it. He had a childlike enthusiasm whenever he talked about live shows or some of his favorite influences growing up.

My first concept had him playing the drums as one might expect, but when I ran across some references showing him adoring the crowd as they adored him right back, I knew this was the most fitting tribute to Taylor. This concept also allowed me to portray him in his killer Van Halen tights as a nod to the love for his musical influences and peers.

I’ve been a fan of The Doors for as long as I can remember (before Oliver Stone’s biopic in the early 90’s). A lot of artists are drawn to Jim Morrison and The Doors - there is something to the mysticism and chaos that I think hits artists differently. I’ve painted Jim many times prior to this, going back to my teen years - a complex character like Jim provides so many different concept ideas and the change from young pop heartthrob to a bearded bluesman can make an artist feel like you are conceptualizing two very different people.

This piece, like many of Jim tributes, is full of symbolism and easter eggs that any hardcore The Doors fan is sure to notice. I’ve decided not to outline them here and instead invite the viewer to go down the rabbit hole of Mr. Mojo Risin’.

My first recollection of being infatuated with art was the album art of Kiss’ “Destroyer”. I remember staring at it, and for the first time, I was intrigued with not only how it was created but the story behind it. I wanted to know more about what had preceded the frozen image staring at me. I had an early understanding of that aspect of art – and I loved it.

As Kiss’ final bow closes in, I started to think about honoring them for giving me that gift by doing my third miniseries depicting an entire band. Knowing the influence that Kiss had on not only myself, but most of my favorite current bands, it was a slam dunk.

While I started to think of concepts, I was also conceptualizing my next Rogue footwear piece portraying a vibe to a particular genre, as I had done with the Sex Pistols punk boots and Motley’s studded spikes. When the thought of the most famous boots on earth entered my mind, I knew this concept would be a perfect way to scratch multiple itches.

My first recollection of being infatuated with art was the album art of Kiss’ “Destroyer”. I remember staring at it, and for the first time, I was intrigued with not only how it was created but the story behind it. I wanted to know more about what had preceded the frozen image staring at me. I had an early understanding of that aspect of art – and I loved it.

As Kiss’ final bow closes in, I started to think about honoring them for giving me that gift by doing my third miniseries depicting an entire band. Knowing the influence that Kiss had on not only myself, but most of my favorite current bands, it was a slam dunk.

While I started to think of concepts, I was also conceptualizing my next Rogue footwear piece portraying a vibe to a particular genre, as I had done with the Sex Pistols punk boots and Motley’s studded spikes. When the thought of the most famous boots on earth entered my mind, I knew this concept would be a perfect way to scratch multiple itches.

My first recollection of being infatuated with art was the album art of Kiss’ “Destroyer”. I remember staring at it, and for the first time, I was intrigued with not only how it was created but the story behind it. I wanted to know more about what had preceded the frozen image staring at me. I had an early understanding of that aspect of art – and I loved it.

As Kiss’ final bow closes in, I started to think about honoring them for giving me that gift by doing my third miniseries depicting an entire band. Knowing the influence that Kiss had on not only myself, but most of my favorite current bands, it was a slam dunk.

While I started to think of concepts, I was also conceptualizing my next Rogue footwear piece portraying a vibe to a particular genre, as I had done with the Sex Pistols punk boots and Motley’s studded spikes. When the thought of the most famous boots on earth entered my mind, I knew this concept would be a perfect way to scratch multiple itches.

My first recollection of being infatuated with art was the album art of Kiss’ “Destroyer”. I remember staring at it, and for the first time, I was intrigued with not only how it was created but the story behind it. I wanted to know more about what had preceded the frozen image staring at me. I had an early understanding of that aspect of art – and I loved it.

As Kiss’ final bow closes in, I started to think about honoring them for giving me that gift by doing my third miniseries depicting an entire band. Knowing the influence that Kiss had on not only myself, but most of my favorite current bands, it was a slam dunk.

While I started to think of concepts, I was also conceptualizing my next Rogue footwear piece portraying a vibe to a particular genre, as I had done with the Sex Pistols punk boots and Motley’s studded spikes. When the thought of the most famous boots on earth entered my mind, I knew this concept would be a perfect way to scratch multiple itches.