The studio
How the work gets made
Four media, one subject at a time, and a habit of starting from something small — a gesture, a dog, a face — and letting it turn into something larger.
- Media
- Four
- Where
- Humble, Texas
- Paintings so far
- More than a hundred
- Commissions
- Open
What he works in
Different problems want different materials
- Watercolor
- Transparent, unforgiving, and the medium behind every Duck & Compass card. You cannot paint over a mistake in watercolor. You can only decide what it is now.
- Oil
- Where the heavy work happens — the bomb suits, the figures, the paintings that needed weight and time.
- Graphite
- Drawing as thinking. Portraits, studies, and the commissions where a face matters more than a palette.
- Charcoal
- Black, smudged, immediate. It is the medium closest to the thing being described rather than depicted.
Why he paints
It started as a way to say something he could not say
Timothy was an explosive ordnance disposal technician. He survived a blast in Iraq in 2006. Painting became a way to express things that were difficult to put into words, and that search is still what shapes the work — whether the subject is a bomb suit, a dog, or somebody’s grandmother.
That is also why the collections look so unlike each other. The studio is not covering a market. It is following whatever the next thing that needs saying happens to be.
Have something made
The process works the same way for a commission
A conversation first, about the person or the animal or the moment. Then the medium. Then the painting.