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The Seattle Prize · 2025–26 fellows

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147 posts from the studios this year, newest first. Scroll back in time; tap a post to open it.

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August 20263 posts

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Aug 28, 2026

Last week I finished another painting from my year at the Seattle Prize—this one inspired by the landscape along the Columbia River in central Washington. Every time I cross the Cascade Mountains and enter the dry region far east of Seattle, I’m struck by the immense scale of…

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Aug 20, 2026

I had a productive week in the studio last week and finished another painting for the Seattle Prize. "Still Standing" began as a small study that I ultimately decided to take all the way. The reference came from a photo shoot I did in Taos, New Mexico, while I was there for a…

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Aug 13, 2026

Yesterday, I completed my latest painting as part of the Seattle Prize. The piece is titled “Cold Front” — a reference both to the winter landscape and to the psychology of the portrait itself. The woman stands alone on a snow-covered slope, her presence as quiet and ambiguous…

July 20264 posts

Studio post by Agustina Forest

Agustina Forest2025–26 fellow · Jul 21, 2026

The world cup watch party was right outside our studio door, so we were fully immersed in the Futbol experience. Having the fans cheering up and watching the matches outside really tested the concentration levels of the fellows at the studio. Also, I am so proud of my country’s…

Studio post by Emma Garay

Emma Garay2025–26 fellow · Jul 15, 2026

The completed portrait of Colette and some behind the scenes photos. I had the privilege of meeting Colette at one of the events hosted by the Art Love Salon and from there was inspired to collaborate on a painting. Through this experience we’ve been able to laugh and process…

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Jul 9, 2026

Nice weekend up in Bellingham with the fellows- painting some beautiful landscapes. A cat slept on my chest all night and I got no sleep, did a backflip, learned 10% of a song on piano. Back in the studio now with progress coming on the newest painting too

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Jul 9, 2026

Over the past few weeks, my fellowship responsibilities have kept me busier than ever, which has meant far less time in the studio than I'd like. While I haven't been painting as much, the upside has been having the opportunity to step back, think, and develop new ideas for…

June 202611 posts

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Jun 25, 2026

Since moving to the Pacific Northwest, I've developed an unexpected passion for landscape painting. One of my goals over the coming years is to establish myself as a painter of the American West. This landscape has become a tremendous source of inspiration for me, and when I…

Progress on The First Horseman

Nick Eisele2025–26 fellow · Jun 22, 2026

Continuation of the initial block-in The First Horseman · the making →

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Jun 17, 2026

Spending some time on this small study this week to work out background for my new composition. This will be the third portrait in my homelessness series, and one that I am very excited about. John, the subject, is a fixture here in pioneer square and known by many of the…

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Jun 18, 2026

Now that our exhibition has been on display for a few weeks, it's time for me to begin committing to the major projects that will carry me through the remainder of my first year of the Seattle Prize. Last week I presented several studies and ideas to the cohort. The feedback was…

Studio post by Nick Eisele

Nick Eisele2025–26 fellow · Jun 19, 2026

Attacking the canvas with paint. Going bold blocking in with a mix of direct application as well as some loose washes of color like an ebauche.

Progress on Elephant

Diego Glazer2025–26 fellow · Jun 15, 2026

I’m finally getting into the fun stuff with this large canvas. The main structure of the painting is all set up, and now it’s time to get into the nitty gritty details and bring this thing to life, starting with the ornaments on and around the elephant’s head. I’ve been looking…Elephant · the making →

Studio post by Agustina Forest

Agustina Forest2025–26 fellow · Jun 11, 2026

Half of the year show was a huge success! So many people came by that at some point there was a line to get in! My favorite thing about the show was the sense of collaboration among the fellows to make it happen. 5 minutes before the show we were still putting signs up. We took…

Progress on The First Horseman

Nick Eisele2025–26 fellow · Jun 19, 2026

Charcoal block-in using soft vine charcoal. Using a simple crisscross grid to help me place the important elements. I plan to paint directly over the vine charcoal without any sealant. Allowing the drawing to wipe away as I go and letting me adjust and redraw as needed. My goal…The First Horseman · the making →

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Jun 11, 2026

Last Thursday marked a major milestone for our fellowship as we officially opened our inaugural exhibition to the public during Seattle’s First Thursday Art Walk. The exhibition, Beautiful Things, was our first opportunity to share the work we’ve been creating over the past…

Progress on The First Horseman

Nick Eisele2025–26 fellow · Jun 19, 2026

Color studies. Taking Inspo and color notes from some of my favorite Miyazaki Films. Keeping the 60/30/10 rule in mind.The First Horseman · the making →

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Jun 5, 2026

Last week, we hosted our third master workshop of the year, welcoming renowned painter Steven Assel from New York to demonstrate his painting process from life. This workshop felt a little different from the others we've had. The instruction was more observational than direct…

May 20266 posts

Progress on Self Portrait with the Promise of a Blue Sky

Daniel Zalla2025–26 fellow · May 21, 2026

Self Portrait with the Promise of a Blue Sky Self Portrait with the Promise of a Blue Sky · the making →

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · May 21, 2026

Things are officially entering crunch time here at the Occidental Fine Arts Center as we prepare for our soft opening exhibition at the beginning of next month. The entire studio has shifted into that familiar final stretch where everyone is racing to push paintings across the…

Tenaya SimsMay 19, 2026

Overpainting stage of the torso- I usually take this to about 80% completion, leaving room for subtle color glazes and adjustments.Flight of Shadow · the making →

Studio post by Agustina Forest

Agustina Forest2025–26 fellow · May 6, 2026

I’ve been working on my self portrait, almost done with it! Also Ive been workikg on some last little changes to the drawing before I jump into the big canvas. I’ve been learning from Tenaya to solve the problems in this stage rather than on the big canvas. I am really eager to…

Progress on The Fishmongers at Pike

Jackson Wrede2025–26 fellow · May 7, 2026

No new updates. Simply hard at work trying to finish up this giant painting before our World Cup opening exhibition next month. I’m very excited for this show and hope that the locals feel a strong sense of Seattle pride when they see this freshly completed canvas.The Fishmongers at Pike · the making →

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · May 1, 2026

This is a William appreciation post. Good Ol’ William as we call him. A wee Scottish lad with a big heart. A friend and rock solid painter with whom I was honored to spend some time this weekend painting in the Olympic Peninsula. He’s also a ravenous billiards player, religious…

April 202619 posts

Progress on The Fishmongers at Pike

Jackson Wrede2025–26 fellow · Apr 30, 2026

I’m nearing the end of the second pass across the entire surface of this painting, which is an important step and really the meat and potatoes of my entire painting process. The underpainting is now mostly buried, though I’m still keeping things deliberately thin in places so…The Fishmongers at Pike · the making →

Progress on Sean

Daniel Zalla2025–26 fellow · Apr 24, 2026

Nearing the finish line on this portrait. My first in a series of homeless portraits- people of Seattle. I felt good about this painting, making some interesting changes to my usual technique which seemed to pay off. My studio mates have been using psychological methods to peer…Sean · the making →

Studio post by Agustina Forest

Agustina Forest2025–26 fellow · Apr 24, 2026

Working away on all the details. Sometimes a week goes by and the changes done are so subtle yet they add so much to the final piece. Having fellows in the studio means you get to learn from each other and also they are there when you need them the most. Emma brought me over a…

Progress on Elephant

Diego Glazer2025–26 fellow · Apr 23, 2026

Having done a fairly meticulous drawing on the final canvas, I continued by doing a color wash and a block in. The goal is to get the big shapes and colors to work in conjunction before getting into several detail passes in the coming weeks.Elephant · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Apr 23, 2026

Composition variations. I did these by digitally painting in photoshop. Using my own references and poses to build the composition from scratch. The composition is getting close, but it needs more. More dynamic movement and energy. Time to experiment and solve this problem. Not…The First Horseman · the making →

Jackson WredeApr 23, 2026

As I move deeper into the second layer of this painting, my attention is shifting. With the drawing and value structure becoming more established, I’m starting to focus more carefully on the surface quality and edge control. This is usually the point where I step back and look online to study high-resolution images of paintings I admire to better understand how those artists handled form, transitions, and the paint itself. I’m not trying to imitate these works directly, but rather to absorb something of their character. The collection of images I’m sharing today reflects that. Close-up views of paintings where the edges, shapes, and brushwork carry a kind of authority and subtlety that I’m aiming toward in my own way. Working from a photograph gives me access to more visual information than I could ever need, but it also encourages a certain tightness and predictability in the rendering. As I continue refining the structure and locking in accuracy, I’m increasingly aware of the need to counterbalance that tendency. Ironically, it’s often in the later stages once my fundamentals are secure that I’ll reach for larger brushes and begin to introduce more expressive decisions. That might mean pushing background shapes into foreground contours, sharpening or totally loosing edges, or allowing small irregularities to emerge across the surface. These are qualities I admire in older paintings, many of which were not built from photographic reference and instead evolved through a more exploratory, responsive process. While they may lack the exacting fidelity we associate with contemporary realism, they possess a kind of vitality an unevenness that gives the image life, especially at scale. Of course, the standard set by these artists is incredibly high. But if I can capture even a fraction of that energy and intelligence in my own work, I’ll consider this painting a success.The Fishmongers at Pike · the making →

Progress on Sean

Daniel Zalla2025–26 fellow · Apr 18, 2026

A few photos from the start of a series that I am doing on homelessness and addiction in Seattle. I have started with this portrait of Sean, a homeless man who I have gotten to know a bit over the months and who was willing to pose for me. Between painting on this portrait, I am…Sean · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Apr 23, 2026

Gathering boat loads of references from hiring models and capturing my own photoshoots, to searching out images of armor, castles and all things medieval.The First Horseman · the making →

Studio post by Agustina Forest

Agustina Forest2025–26 fellow · Apr 16, 2026

This week I started adding color to the self portrait. Sometimes paintings need time to dry before you can work on them again so you can oil it out and see it alive fully again. Since I had to wait for it to dry, I started doing a drawing study for my next big painting. I will…

Progress on Rest between Movements

Emma Garay2025–26 fellow · Apr 16, 2026

An update on my painting of Michaela playing the violin and the beginnings of laying the setting for my covenant painting. Most likely I will be having to pivot from this idea and hope to have a new composition and finalized and approved soon. In the meantime working on the…Rest between Movements · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Apr 23, 2026

Here is the general composition agreed on. In order to sell the idea I used my photoshop skills and a collage of AI generated images as well as hand painting digitally over the image to create this mock up. With the project approved, The next step is to rid the image of AI and…The First Horseman · the making →

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Apr 16, 2026

On Monday I returned to Seattle after a weekend in Atlanta for the Portrait Society of America’s annual conference. I had the privilege of serving as a faculty member this year, including a live portrait demonstration on Friday evening. Painting from life in front of an audience…

Progress on Self-portrait

Agustina Forest2025–26 fellow · Apr 9, 2026

This week I finished the underpainting for my self-portrait. Next I will add color, and I am so happy to see it come to life this way. ai am basically following this super traditional way that painters like William-Adolphe Bouguereau used. With each new painting/project I make I…Self-portrait · the making →

Progress on Rest between Movements

Emma Garay2025–26 fellow · Apr 3, 2026

Covering one of the many stretched canvases from two weeks ago. I have the honour to paint my friend and fellow painter Michaela Alexander as the musician that she is. A woman of integrity and many giftings. Grateful for the space and time to pursue multiple projects…Rest between Movements · the making →

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Apr 3, 2026

Well this past week, my idea of Death Playing Fetch with Cerberus has been buried. Andrew has suggested that I do a series on homeless dignity. I am desperate to get painting after so long away from the easel. I have made some connections with the organizers of different…

Studio post by Agustina Forest

Agustina Forest2025–26 fellow · Apr 2, 2026

Re-starting my self-portrait, this time working the indirect way. I am incredibly blessed to be learning from Tenaya how to work this way. I am loving it since it involves drawing at first, which was my first love. Then I did the transfer, a wipeout and then I started working on…

Progress on The Fishmongers at Pike

Jackson Wrede2025–26 fellow · Apr 2, 2026

After what felt like an eternity (though really it was only a few weeks) I’ve finally brought the entire surface of the painting to a unified base underpainting. At this stage, every area of the canvas has been addressed, with the major value relationships established across the…The Fishmongers at Pike · the making →

Progress on Shape of us

Larine ChungLove Portrait · Apr 2, 2026

Work in progress update: Shape of us is a tribute to my mom and all of us, women. It celebrates and reflects on the four seasons that have shaped our life—bright, curious spring as a child; the bold, restless bloom of her teenage years; the generous, steady summer of motherhood…Shape of us · the making →

Progress on Elephant

Diego Glazer2025–26 fellow · Apr 2, 2026

After doing several color studies from imagination for my next painting, I’ve been taking my time to create the references I need to make the piece convincing on a large scale. So I bought several faux plants and flowers, as well as some fruit from Pike Place Market and got to…Elephant · the making →

March 202625 posts

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Mar 26, 2026

Last weekend, we had the privilege of hosting Phoenix-based artist Gustavo Ramos for a three-day portrait painting workshop. Gustavo is not only a generous and thoughtful instructor, but one of the strongest portrait painters working today, so it was a rare opportunity to…

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Mar 26, 2026

I feel like a follow-up post is warranted after my previous declaration that I was in “hot pursuit” of a new large-scale canvas. At the time of that post I felt that I was smooth sailing with clear skies and the wind billowing in my sails- my vision as a North Star to guide me…

Studio post by Emma Garay

Emma Garay2025–26 fellow · Mar 26, 2026

Last weekend I was able to visit sunny Southern California to be a part of an exhibition with California Art Club. Pictured next to Mason William’s work from opening night, sweet pets, American Legacy Finearts, colorful produce, and the ocean I grew up next to. Grateful for the…

Studio post by Agustina Forest

Agustina Forest2025–26 fellow · Mar 26, 2026

We spent the last weekend learning from Gustavo Remos. I love learning about artists process and how they approach painting. Thats one of the things I love the most about this program, everyone’s process is so different. Then you get to take each thing that resonates with you…

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Mar 26, 2026

I felt extremely blessed last weekend to have the free opportunity to learn from Gustavo Ramos during his 3 day workshop here at Occidental. I had been following his work for some time and it was wonderful to get an insight into his process, materials and techniques. His whole…

Studio post by Emma Garay

Emma Garay2025–26 fellow · Mar 26, 2026

spent the day stretching canvases for the next upcoming months and projects. I will ideally be painting multiple scenes of various sizes simultaneously: a few narrative portraits, a figure, and a desert scene. I’m excited to be soon stepping out of the ideating stage and paint…

Progress on Momento Mori

Nick Eisele2025–26 fellow · Mar 23, 2026

One of my favorite parts of painting, rendering a still life. Listening to an audio book and plugging away for countless hours modeling the light, form, and subtle variations within the patinas and textures of the objects. Maybe 75-85% complete on this section. I want to make…Momento Mori · the making →

Progress on The Fishmongers at Pike

Jackson Wrede2025–26 fellow · Mar 21, 2026

I’m now a few weeks into my Pike Place project, and the painting is beginning to take shape. At the outset, my goal was to establish a thin, scrubbed-in base layer akin to a traditional French ébauche. While I don’t follow a strict academic process, I use a similar approach…The Fishmongers at Pike · the making →

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Mar 13, 2026

I am in hot pursuit of a new big canvas- reference material is coming together and studies are piling up! I am extremely excited about the prospect of this new work- “Death Playing Fetch with Cerberus” -a meditation on the threshold between life and death and that leap into the…

Progress on Momento Mori

Nick Eisele2025–26 fellow · Mar 23, 2026

The most difficult section of this painting has been these legs. I have been pushing and pulling the lights and darks with several glazes and half-pastes to better show the form as well as pushing them back into space to not draw as much attention. My model only had tattoos on…Momento Mori · the making →

Studio post by Jackson Wrede

Jackson Wrede2025–26 fellow · Mar 12, 2026

I took a few days away from the studio to join some friends on a ski trip to British Columbia. Only instead of skiing during the trip, I spent time each day going out to paint plein air. Since I had my car with me, I was able to drive around and explore a number of locations I…

Studio post by Emma Garay

Emma Garay2025–26 fellow · Mar 12, 2026

A new project that I’ve been starting with my talented and esteemed colleague, Daniel Zalla. After I taught him everything I know, I am excited to see his learning come to fruition. Together we will embark on a painting journey to incorporate similar elements but with…

Progress on Momento Mori

Nick Eisele2025–26 fellow · Mar 23, 2026

After a long break working on the horseman ideation, I am jumping back into the Momento Mori painting to finish it up. Here is my second pass on the hand. Ring needs adjustment but other than that I am very content.Momento Mori · the making →

Progress on Third painting

Agustina Forest2025–26 fellow · Mar 12, 2026

Getting closer to start painting on the big canvas! Last week Diego and I got the stretcher bars, so we spent almost a whole day stretching the linen on it. Now its nice and tight and ready to go. I’ve been researching more and more about women being prosecuted in inquisition…Third painting · the making →

Progress on Love Portrait Commission.

Christopher RemmersLove Portrait · Mar 11, 2026

Crossing the Threshold: The First Marks After many iterations of my design process and much back-and-forth with Andrew to nail the emotional frequency, I finally landed on a value and color composition that felt right. The challenge remained: how to balance the deep, atmospheric…Love Portrait Commission. · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Mar 10, 2026

To better help familiarize my self with the colors of the future scene and to get comfortable with the nuances of Jackson's face, I started a small study of Conquest wearing a crown. Painting always gets me in a meditative state and it puts me in the mindset to think through…The First Horseman · the making →

Studio post by Lukas Freudenberg

Lukas Freudenberg2025–26 fellow · Mar 7, 2026

Little inside peak of how i like to organize my pallet. From left to right i like to use ivory black, ultramarine blue, viridian green, transparent red oxide, alizarin crimson, cadmium red, yellow ochre and most importantly my homemade lead white. Depending on the project i cut…

Progress on The Fishmongers at Pike

Jackson Wrede2025–26 fellow · Mar 6, 2026

A few weeks ago we hosted our first workshop, featuring Washington state artist David Cheifetz. He led sessions on painting from imagination, and one of the central ideas he emphasized was the importance of establishing a clear focal point in a painting. In his demonstration…The Fishmongers at Pike · the making →

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Mar 6, 2026

The most challenging part of this program so far has been the ambition to paint stories that are therapeutic to the public. Over the past couple of weeks, in addition to my master copy, I have been developing concepts for my next paintings. Internally, it has been a rather tense…

Studio post by Emma Garay

Emma Garay2025–26 fellow · Mar 5, 2026

what a treat to see glimpses of the studio life through the eyes of Gillian. She does a beautiful job capturing our day to day in a lovely (seemingly effortless) way. Gliding through the studios to share a giggle, snap photos of us at work, and all the while keeping up with her…

Progress on Third painting

Agustina Forest2025–26 fellow · Mar 5, 2026

There is so much work involved behind the planning of a piece, specially with numerous people. I gathered a group of 5 women, photographed them based on a composition sketch I did. It felt like the painting I’ve had in my head was coming alive in front of me. What a cool…Third painting · the making →

Progress on Love Portrait Commission.

Christopher RemmersLove Portrait · Mar 1, 2026

The Threshold: From Reference to Color Study Once the direction was clear...The boy at the threshold of the makeshift shelter, the real work of "resourcing" began. I spent days in the woods around my home in Bellingham, documenting the specific textures of cedar bark and the way…Love Portrait Commission. · the making →

Studio post by Emma Garay

Emma Garay2025–26 fellow · Mar 5, 2026

I am currently in the composing process again for some new paintings. With this new venture I’d like to have a minimum of two paintings on the easel at a time. It’s a mental break and refresh to be able to see with fresh eyes. Shared here are the very early conceptions of a…

Studio post by Emma Garay

Emma Garay2025–26 fellow · Mar 5, 2026

A saunter down to the marketplace over the weekend with the intent on creating an impromptu still life. We had a very enjoyable Saturday spent together: chatting and painting. Love creating and sharing laughs with Jackson and Diego. Nothing went to waste. We later cooked and ate…

Progress on Love Portrait Commission.

Christopher RemmersLove Portrait · Mar 1, 2026

Beginings... When this commission first landed on my easel, I knew instinctively it had to be about my son. Lately, fatherhood has been a profound mirror; watching a toddler move through the world has reawakened a felt sense of joy and presence that I think many of us spend our…Love Portrait Commission. · the making →

February 202617 posts

Progress on The First Horseman

Nick Eisele2025–26 fellow · Feb 27, 2026

Welp... I have sold my soul and resorted to the use of AI. Shown here in these 3 images are only a selection of the AI slop I have generated and tore my eyes out sorting through over the past few weeks. Trying to get a better visual based off my ideas and compositions. It is…The First Horseman · the making →

Progress on The Fishmongers at Pike

Jackson Wrede2025–26 fellow · Feb 27, 2026

This past week I devoted to finishing the drawing for my next project: refining, correcting, and finally committing it to ink across the full nine-foot surface of the canvas. That step may sound redundant, but for me and my process, it is essential. I’ve painted directly over…The Fishmongers at Pike · the making →

Progress on Tender Keeper

Emma Garay2025–26 fellow · Feb 26, 2026

Wanted to share the stages of this painting thus far Tender Keeper · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Feb 27, 2026

While refining the idea and composition of this painting. I have been spending some time studying my new references and some horse anatomy. Thank you to local sculptor, Elijah Evenson, for hooking me up with anatomy books and resources. I look forward to studying the workings of…The First Horseman · the making →

Studio post by Daniel Zalla

Daniel Zalla2025–26 fellow · Feb 26, 2026

Had a very nice time at the David Cheifetz workshop this weekend. The painting process was very new to me, starting from a complete abstract composition and then using only imagination to create something representational from it. Swipe to see the initial abstract composition…

Progress on Tender Keeper

Emma Garay2025–26 fellow · Feb 26, 2026

Colour coordination in the studio today;) Creating a painting purely for the joy and “simplicity” of painting. Just a sweet girl and her pup. Depth contained within purity and innocence. I find it necessary to have multiple paintings going at once; at different stages, for…Tender Keeper · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Feb 27, 2026

Venturing out during several of my personal weekends, I sought out Horses to pose and photograph. It is not an easy task getting up and close to horses without connections. I am very thankful to both fellows Emma Garay and Agustina Forest for going out of their way and asking…The First Horseman · the making →

Progress on Self-portrait

Agustina Forest2025–26 fellow · Feb 26, 2026

Planning my next project involves a lot of variables, like coordinating models, the space being available and making sure I have the right composition to make the best use of time. Since it is taking some time before I can actually sit down and paint, I needed to get my painting…Self-portrait · the making →

Progress on Elephant

Diego Glazer2025–26 fellow · Feb 26, 2026

Starting to plan my next project. A surrealist take on orientalism. Inspired by an old sketch I made from imagination, I am now further developing the scene via color studies in preparation for the large canvas. In a digital world I prefer to work with my hands.Elephant · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Feb 27, 2026

Sifting through the photos I took of Jackson. I decided to do some quick studies of a few. The expression in this painting will be important. A dashing smile? A stoic stare? I can't decide.The First Horseman · the making →

Progress on The Fishmongers at Pike

Jackson WredeFeb 19, 2026

This past week has been devoted almost entirely to the drawing for my current project and third painting: a large panoramic scene of the fishmongers preparing for the morning at Pike Place Market here in Seattle. With nine figures moving through the space, it’s a composition that demands discipline early on. There is simply too much at stake here to rush the foundation. I’m treating the drawing as a structural audit. Before a single note of color enters the conversation, I want the proportions, perspective, and underlying shapes to feel inevitable and coherent. The ceiling, the floor, the horizon line, the stacked geometry of counters and crates, the recession of space, all of it must lock together. I’ve been using a ruler relentlessly, covering the paper in measured lines, wiping graphite off the side of my hand, erasing and redrawing until the architecture of the scene feels stable. It’s labor-intensive work, but it’s clarifying. For me, painting is a form of juggling. The fewer variables I have to manage at once, the stronger the result. If drawing, value, color, edge, and detail are all competing for attention simultaneously, one of those consideration is more likely to slip through the cracks. By resolving the structural questions now and making the drawing airtight, I can later devote myself fully to value relationships, then to color, and finally to the subtleties of edges and surface decisions. Stepping back from the drawing periodically has been essential. Distance reveals what proximity hides. My hope is that by the end of this week, or early next, the drawing will be resolved enough to ink ut and begin the underpainting. That transition always feels like crossing a threshold from planning into execution, and I’m eager to step into it.The Fishmongers at Pike · the making →

Tenaya SimsFeb 13, 2026

Moving on to the overpainting stage of the face: placing paint “tiles” over the underpainting’s structure, then gently blending them along the direction of the form.Flight of Shadow · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Feb 27, 2026

Since the beginning of the idea of painting conquest, way back before the fellowship even started, I knew Jackson Wrede was the man for the role. He has that vintage old Hollywood Handsomeness. A strong presence with a charming smile. The Goal for illustrating Conquest is to…The First Horseman · the making →

Progress on The Fishmongers at Pike

Jackson WredeFeb 12, 2026

My third project is officially underway. Last week, I commissioned a nine-foot stretcher bar frame from a local craftsman who has worked with our facilitator, Tenaya, on previous projects. It arrived on Monday, beautifully constructed and imposing in scale. I spent the entire day stretching Claessens linen over it, which took much longer than expected working at that size. I had to remove and reset dozens of staples to achieve the tension I wanted, but by the end of the day it finally felt about the tightness I was looking for. Over time, I’m hoping the linen acclimates and absorbs a bit of moisture from the air, so it should continue to tighten just slightly. This week marks the beginning of the drawing phase. Because I’ve completed so many preparatory studies and digital mockups, transferring the composition feels almost procedural at this point. I’m using a grid to establish the primary structure, but once that scaffolding begins to dissolve, I’ll shift into freehand refinement. The goal is to build a drawing so structurally sound that the painting stage can unfold without hesitation. At this scale especially, the drawing must carry authority. I don’t want to be correcting proportions once values, color, and paint are involved. Last Thursday, we were fortunate to watch a demonstration by a local conservator named Eric who restores historical paintings. He walked us through his lining process, showing how a deteriorated or torn canvas is reinforced and stabilized. Seeing that level of material sensitivity was quite cool and inspiring, especially just days before stretching a canvas of my own. It reminded me that what we do is not just image-making but construction, preservation, and stewardship of objects meant to endure. For the next week or two, I’ll be solely focused on this drawing. At nine feet long, it’s a big undertaking, but this stage is the foundation of everything that follows. If I can lock in the structure now with clarity and conviction, I’ll be free later to focus entirely on edges, atmosphere, and risk. My hope is that a disciplined beginning will support what may become the strongest painting I’ve made to date.The Fishmongers at Pike · the making →

Progress on The Hand that Listens

Agustina ForestFeb 5, 2026

Receiving a critique on my first painting at the Seattle prize! It’s so very helpful to have skilled eyes around to look at the work and point to the right direction. Now back to the canvas, to apply all the new insights i got on it.The Hand that Listens · the making →

Progress on The First Horseman

Nick Eisele2025–26 fellow · Feb 27, 2026

Here is a collection of some of the thumbnails created to illustrate Conquest. A Heroic and Charismatic King mounted atop of a white steed. A crowd of townsfolk are enthralled in celebration at his presence. In the distance looms foreshadowing. Which of these compositions catch…The First Horseman · the making →

Progress on Defeated

Lukas FreudenbergFeb 4, 2026

Hi yall, still writing from germany but next time i post on here, it will hopefully be a picture of me with the other fellows in the beautiful Seattle studios. Here a little update the painting i am currently working on. I am pretty satisfied with the male figure and the female figure is close but needs a little more work. Planning to roll this painting up once it‘s try and revisit it once i‘m settled into my studio in Seattle. Peace ??Defeated · the making →

January 202618 posts

Progress on Flight of Shadow

Tenaya SimsJan 29, 2026

Onto the primary pass of the drapery and hands. I generally try take this stage to about 75%, leaving room for glazes and adjustments in the upper layers. I painted the surrounding sky at the same time to work wet-into-wet edges (harsh edges can sometimes be a pain to deal with once dry).Flight of Shadow · the making →

Progress on Momento Mori

Nick EiseleJan 29, 2026

This is my first time painting tattoos on skin. I have a plan but it is a bit of an experiment. My aim was to block in the skin and form first, then glaze the tattoos over the skin later in the process. I am happy with how it turned out but it still looks too fresh. I will continue to paint into the designs and skin with both glazes and direct paint to create a more natural feel that also matches the paint quality and style of the painting in whole.Momento Mori · the making →

Progress on Allegory of Curiosity

Jackson WredeJan 29, 2026

A step-by-step look at the making of my latest studio painting, “Allegory of Curiosity.” When I arrived here in Seattle in October, I came in with a handful of ideas I thought I wanted to pursue. After sharing them with my fellow Seattle Prize artists and sitting with their feedback, the work took a different and honestly much better direction than what I had originally planned. This first project ended up centering on a group of mermaids encountering a sunken high-heel shoe: an object of fascination and curiosity for which they have no frame of reference for understanding. From there, I moved through sketches, a live model photoshoot, and a composite mockup built in Photoshop from my own photo references and digital drawing. Once the overall composition was settled, I experimented with a mix of reference tools including several AI programs to explore lighting, surface, and atmosphere variations before committing things to paint. These new tools offer an abundance of potential directions the painting could go and allow you to become a kind of art director who can stress test ideas and select for certain details after the larger questions of your concept and composition have been resolved. The painting itself started with an ink drawing and slowly evolved from there, with plenty of adjustments along the way as the work revealed what it needed. A mid-process critique with the Fellows helped expose a few weak spots and pushed the second half of the painting forward in a big way. It wasn’t until the later stages when the caustic light, bubbles, and underwater effects came together that the whole thing really started clicking. I’ll likely keep making small tweaks before an eventual exhibition, but for now it’s mostly finished. More importantly, it marks the beginning of a new body of work and a glimpse into what this cohort is building here in Seattle.Allegory of Curiosity · the making →

Progress on Dead Wood

Daniel ZallaJan 21, 2026

Each painting seems to have its emotional peaks and troughs. The beginning of a new painting is full of energy and potential, the middle is a brutal wrestling match, and the finishing touches during the last 10% are glorious. This painting has been fighting with me the past couple weeks as I try and get closer to a resolve. I was relieved to get the feet put in at a satisfactory level, because these little successes are anchors that keep you motivated to pursue the success of the whole. I still have much to figure out before setting the brushes down on this painting. Particularly the background and how it relates to the figure will require the most work in the coming weeks.Dead Wood · the making →

Tenaya SimsJan 21, 2026

Working on the base layer of the hair. It’s one of my favorite subjects to paint, since it allows for play with rhythms, swoops, and swooshes within the larger compositional theme. I like to bring it to about 80% finish on the main pass so I can work wet-into-wet on the edges, then reserve the remaining details for a final pass.Flight of Shadow · the making →

Progress on Allegory of Curiosity

Jackson WredeJan 22, 2026

It's interesting looking back at all the work-in-progress photos that have been taken throughout the process of this painting, because it reminds me how much things have changed and how solidified I thought my vision was from the start, but also how apparently it was not really at all. This painting that I thought might have taken six to eight weeks has ended up taking a full 13—granted I've been working on other projects during that time—but it shows that to create the best work, it does take time. And even when you think you've planned, little problems come up that you have to overcome as the artist. So with that said, I'm very excited to unveil the finished product, hopefully sometime next week, potentially even in my next post. I've learned so much working on this piece, and I think it's a good start to my tenure in the program. But taking the lessons I've learned, I know that my future works are going to be even superior to this one. So stay tuned.Allegory of Curiosity · the making →

Progress on Momento Mori

Nick EiseleJan 21, 2026

The portrait is coming together nicely. Now that it is close it is time to move on and work out the Jacket, Watch and Hand. Then back to the still life. Painting is a slow but rewarding process.Momento Mori · the making →

Progress on Forest on a Boat

Diego GlazerJan 21, 2026

Finally finished with my first painting for the program. At least for now. I will let it sit for a while and eventually come back to make some final tweaks. I’ll be sharing some close ups soon, so stay tuned!Forest on a Boat · the making →

Progress on The Comeback

Jackson WredeJan 20, 2026

While I’m in the finishing stages of my larger Allegory of Curiosity painting, I felt it was important to begin a second project. The attached images show the early progress of this new work. This painting represents a clear departure from the smooth, brightly colored, and deliberately saccharine tone of my mermaid composition. Instead, this Mixed Martial Arts scene leans into something far more raw, emotionally charged, chaotic, fresh, direct, and physical. I’m interested in being an artist who can move fluently between different modes: from the sweet, allegorical, and symbolic, to work that is grounded in real experience and tethered to my actual interests. Although this MMA scene is also invented, it draws directly from my personal observations, and I’m excited to discover how the composition, narrative, and paint handling will ultimately resolve. As a counterpoint to the mermaids painting, this work broadens the emotional and formal range of the fellowship’s portfolio and contributes to the sense of variety and ambition that we are hoping to cultivate.The Comeback · the making →

Progress on Dead Wood

Daniel ZallaJan 9, 2026

This weeks efforts have been focused on giving a second layer to the figure in my painting. I like to start each layer from the area of highest contrast, in this case the shoulder, so that I can use it to set my key for the painting. As I work my way down the figure I am always comparing the local values back to that area of highway contrast to make sure that I am achieving a proper and convincing fall of light. This is particularly important when working from photographs, where it is easy to observe only one section of the composition at a time.Dead Wood · the making →

Progress on The Hand that Listens

Agustina ForestJan 8, 2026

From study to the big canvas. I like the idea of the co-creation. Some time ago I read a quote about needing to stoop to see one's reflection in water before the invention of mirrors, and how that is a symbolic act of humbling oneself to witness the self. Since then that concept of kneeling was marinating in my mind. In this case humbling allows you to listen, giving place to co-creation.The Hand that Listens · the making →

Progress on Giselle

Emma GarayJan 8, 2026

Stepping back and viewing the bigger picture this week. Working with the painting in its frame and then without; moving my way around the composition without getting caught on details. Additions and subtractions… prepping for the final layers (veils, embroidery, flowers etc..) . What is the mood being created? What symbols / objects might be added to assist in the overall theme? Thinking composition and harmony first. Narrative and character must play within those borders just as the image and world is restricted to the dimensions of the canvas.Giselle · the making →

Progress on Momento Mori

Nick EiseleJan 8, 2026

Detail shots. At this stage everything is still a semi-rough block in. I have been spending more time on the portrait of the older man. I want to make sure he has the most contrast and detail in the painting. Once I am content with him, I can move back into the still life and background and bring it up to the same level or keep it more loose. I do not want the still life to steal attention or focus from the man.Momento Mori · the making →

Progress on Forest on a Boat

Diego GlazerJan 8, 2026

With the backdrop practically done, now it’s time to have fun with all the little Easter eggs I usually pepper throughout my paintings. Birds not only give scale to the scenery, but also give life and movement to the overall painting.Forest on a Boat · the making →

Progress on Allegory of Curiosity

Jackson WredeJan 8, 2026

I’m in the later stages of my mermaid painting, though there are still a few key areas to resolve before it’s truly finished. The most important figure in the composition—the mermaid on the left—has been my main focus this week. For some time, I struggled to articulate the scales of her tail in a way that felt natural, fish-like, and convincingly three-dimensional. I think I’ve now arrived at a solution. Rather than using a more complex, double-turning S-curve, I simplified the form into a single, broad, sweeping curve—something more in line with how you might expect a mermaid’s tail to move. Along with that, the approach to the scaling has evolved. There’s still work to be done: adding highlights, subtle glints, sparkles, and clearer color separation to fully bring the tail to life. That said, it feels like I’m on the right track. I also made several anatomical adjustments to the upper body—tapering the rear deltoid, allowing the tricep to assert itself more, and unifying the clavicle plane so it feels more convincingly lit. I repainted the hand, which will later be glazed, and rethought the hair to better convey an underwater environment. Instead of hanging downward, it now flows outward, giving it a lighter, more buoyant feel. Altogether, I think these changes significantly strengthen the figure. The reference photo I have is just a quick iPhone snapshot, so it doesn’t fully capture the nuance of the surface, but I’m confident these refinements will have a meaningful impact on the finished painting. The remaining challenge is resolving how the lower fin settles into the sand—finding a way for it to rest naturally and integrate seamlessly with the seafloor.Allegory of Curiosity · the making →

Progress on Momento Mori

Nick EiseleJan 4, 2026

Moving on to the next stage of my Momento Mori painting. Setting up a Still Life scene and blocking it in. I am looking forward to the challenges of painting these old 18th century books I found in a local bookstore around the corner from the studio.Momento Mori · the making →

Progress on Dead Wood

Daniel ZallaJan 2, 2026

Happy New Year! After our holiday break, the fellows have reunited back in Seattle ready to start 2026 off right. A few of my early January ambitions have been stifled by the appearance of what can only be called the flu, but the anticipation to get back in the studio has grown even more. The first layer on my larger painting has been blocked in and this month will be all about refining details while making sure things still work together as a whole!Dead Wood · the making →

Progress on The Comeback

Jackson WredeJan 1, 2026

Happy New Year! I enjoyed a very restful break back home in Chicago over the holidays and have returned to the studio ripping or roaring to get back at my easel. My mermaid painting is in its later stages, but there’s still a lot of work that needs to be done before I cross the finish line. The adjustments I was making before some time away were getting tedious, and I figured it might be a good time to start another canvas. Here I am applying a grid to the panel so I can accurately and efficiently transfer a drawing onto the surface based on my reference. This painting is going to be a serious departure from the underwater mermaids I have been working on, so stay tuned!The Comeback · the making →

December 202513 posts

Progress on Giselle

Emma GarayDec 22, 2025

Each painting has its own journey and process that we are invited along to participate in. Some take unexpected turns, sometimes resulting in complete wipe outs while a few seem to offer little resistance. A breeze from start to finish. For me personally the process tends to be very organic; sometimes chaotic, often changing things drastically in the middle of the painting’s development. (My lack of patience and methodology are to blame) For the sake of this composition I have changed the forward most figure three times with three different models. The last pose resulting in one that better reflects the energy of giselle; the ballet this piece takes its inspiration.Giselle · the making →

Progress on Flight of Shadow

Tenaya SimsDec 15, 2025

Now that all the prep work is finished, it’s on to the underpainting. There are many ways to approach this stage, and I don’t always handle it the same way. Sometimes I’ll start with a single-tone wipe-out and then move directly into full-color overpainting. Other times I use an ébauche approach, washing in the main color relationships from the start. For this particular painting, I’m working with a two-stage underpainting: first a wipe-out, followed by a selective “grisaille.” I use the term grisaille loosely here, since it isn’t strictly black and white—which would push the painting too cool for what comes next. Instead, the “gray” passages are built from mixtures of umbers, raw sienna, and white, which should be more suitable for the color layers to follow.Flight of Shadow · the making →

Progress on Momento Mori

Nick EiseleDec 12, 2025

Chipping away at the portrait in my first painting. Picking up tricks from Emma and Daniel and premixing my skin tones. A technique I have disliked in the past but it is growing on me. Especially now that I am working at a larger scale. For the next week I will keep adding layers of paint, correcting the drawing, and perfecting the transitions and edges within the forms.Momento Mori · the making →

Progress on Dead Wood

Daniel ZallaDec 12, 2025

This week I’ve been thinking a lot about what Ives Gammel used to say about a painter being like a Shepherd. Each part of the painting is a sheep that you are in charge of and if you let any of your flock fall behind, it is likely to get eaten by the wolves. Therefore, on this first real layer of my painting, I am trying not to let any one area get too far ahead, but to bring everything up together. I am content with the progress so far, but there is surely quite a long way to go yet on a painting like this. I am looking forward to an upcoming weekend of painting in the Oregon countryside with the fellows.Dead Wood · the making →

Progress on Allegory of Curiosity

Jackson WredeDec 11, 2025

This past week has been one of my best since arriving in Seattle. Last Thursday we had our monthly pizza night with Andrew and caught up on everyone’s projects. I’ve made significant progress on my mermaid painting and am finally entering the home stretch. Over the weekend, some of us fellows l visited a farm and spent the afternoon painting sheep from life. It was cold but a great way to spend an afternoon. And on Tuesday, we toured the Seattle Art Museum’s Farm to Table exhibition after hours and got a private walkthrough of late-19th-century French paintings centered on food and agriculture. Right up my alley! I’m heading home to Chicago next week for the holidays, but I’m on such a good streak here that I almost don’t want to step away.Allegory of Curiosity · the making →

Progress on The Hand that Listens

Agustina ForestDec 11, 2025

After doing the color study, I started painting on the big canvas. A little from photo reference, a little from life. Having lots of fun with it.The Hand that Listens · the making →

Progress on Defeated

Lukas FreudenbergDec 11, 2025

Little update from me. ???? Since i‘m still here in Germany waiting for my Visa, we decided that i will start a project as a part of the fellowship remotely on a commission basis. Here a few shots out of my studio…excited to share more soon!Defeated · the making →

Progress on Allegory of Curiosity

Jackson WredeDec 4, 2025

My mermaids have come a long way since my critique a couple weeks ago. I’m polishing things up so that I hopefully have this canvas completed by the end of the year.Allegory of Curiosity · the making →

Progress on Forest on a Boat

Diego GlazerDec 4, 2025

I like to take my time allowing complex textures to build over various sessions. If I do it right, the colors will make each other vibrate!Forest on a Boat · the making →

Progress on Giselle

Emma GarayDec 4, 2025

Progress Giselle · the making →

Progress on Dead Wood

Daniel ZallaDec 2, 2025

My current process involves a mix of photo reference and life sessions. At the beginning of the process, it is important to reference the live figure often in order to study true proportions and color vibrations Dead Wood · the making →

Progress on Forest on a Boat

Diego GlazerDec 2, 2025

Be water, my friend.Forest on a Boat · the making →

Progress on Giselle

Emma GarayDec 2, 2025

Beginning stages of a painting inspired by the ballet Giselle. Here we have a paper towel role posing alongside the lovely Arianna.Giselle · the making →

November 202527 posts

Progress on Flight of Shadow

Tenaya SimsNov 26, 2025

Almost finished with the transfer process for the new painting. Before I ventured into classical painting, I came from the world of comics and graphic novels, and this stage always reminds me inking over a pencil draft of a page.Flight of Shadow · the making →

Progress on Dead Wood

Daniel ZallaNov 25, 2025

The first marks on the canvas. I learned a new word recently thanks to Nick Eisele- “Ebauche” - It is a thin, preliminary, washy pass of color over the canvas to map things in before applying thicker layers of paint. Swipe to see an example of an ebauche by Bouguereau. I wanted to try this method in order to keep things flexible on the canvas while still getting a sense of the values.Dead Wood · the making →

Progress on Allegory of Curiosity

Jackson WredeNov 25, 2025

Got some awesome feedback at my critique last week in front of our film crew. I took a lot of notes and the next few weeks will comprise of me going through section by section to make the necessary adjustments to my painting.Allegory of Curiosity · the making →

Progress on Momento Mori

Nick EiseleNov 25, 2025

My favorite part of the painting process, the block in. No expectations set, just slinging paint and building form.Momento Mori · the making →

Diego GlazerNov 25, 2025

In the pinkish lighting of a sunrise, I’ve found mixtures containing yellow ochre can be just right for vegetation.Forest on a Boat · the making →

Progress on The Hand that Listens

Agustina ForestNov 25, 2025

My first painting involves a sculptor and his sculpture. I asked artist Elijah Strongheart Evenson to do this small sculpture so I can work from life. I will post the color study soon The Hand that Listens · the making →

Progress on Giselle

Emma GarayNov 25, 2025

Behind the scenes. Creating and moving with my current muse; using natural light as a mode of inspiration Giselle · the making →

Progress on Dead Wood

Daniel ZallaNov 20, 2025

A glimpse inside my studio at the very first marks of blocking in an almost life-size figure. This painting will balance photo reference with live sessions—the photos offering a slowness impossible when the model is present, and the live sittings providing essential checks on color and proportion to keep the work on course. As I begin these early days from a photo, I have to avoid becoming attached to any drawing decision; everything is subject to change once the model comes in early next week.Dead Wood · the making →

Progress on Forest on a Boat

Diego GlazerNov 20, 2025

Today’s session was all about establishing some simple, flowing shapes in the water.Forest on a Boat · the making →

Progress on Giselle

Emma GarayNov 20, 2025

New project. Soon to be unveiled….Giselle · the making →

Progress on Allegory of Curiosity

Jackson WredeNov 20, 2025

Here is a picture of my first painting “Allegory of Curiosity” (still very much a work-in-progress) before the fellowship’s first critique this afternoon. Seeing it like this in a digital format has already highlighted a bunch of issues I am seeing and areas I can improve on (or just change completely). I’m curious to get some honest feedback and hear what people think. Say a prayer for me!Allegory of Curiosity · the making →

Progress on Momento Mori

Nick EiseleNov 20, 2025

I don't usually start with charcoal, but given the scale of this painting, I wanted to make sure I placed the figure correctly in the composition before starting my block in with paint.Momento Mori · the making →

Progress on Dead Wood

Daniel ZallaNov 18, 2025

Colour study in progress for my upcoming painting Dead Wood · the making →

Progress on Self Portrait "Animus"

Emma GarayNov 18, 2025

Hands painting hands Self Portrait "Animus" · the making →

Progress on Momento Mori

Nick EiseleNov 19, 2025

Canvas prep! Stretching and toning complete. Finally time to paint. This will be my largest painting to date. 36 x 40 in.Momento Mori · the making →

Progress on Forest on a Boat

Diego GlazerNov 18, 2025

Getting into the literal weeds. Trying to pull this painting off without a reference, we’ll see if I can actually do it!Forest on a Boat · the making →

Progress on Allegory of Curiosity

Jackson WredeNov 11, 2025

The inspiration board I have on display outside my studio wall. Most of these examples are historical, but there are a few contemporary paintings mixed in as well. They are all examples of what I understand Rehumanism to be.Allegory of Curiosity · the making →

Progress on Self Portrait "Animus"

Emma GarayNov 11, 2025

Second pass on the self portrait…Self Portrait "Animus" · the making →

Progress on Forest on a Boat

Diego GlazerNov 13, 2025

With the block in done, I can start working my way into some details. Now the real fun begins!Forest on a Boat · the making →

Progress on Flight of Shadow

Tenaya SimsNov 5, 2025

Some exploratory studies and roughs, branching in different directions from the same root theme...stay tuned for which grow int a fully fledged painting.Flight of Shadow · the making →

Progress on Self Portrait "Animus"

Emma GarayNov 6, 2025

The stillness of the morning. Colour mixing assists me in my search for mental clarity and sets the tone for the rest of the day.Self Portrait "Animus" · the making →

Progress on Forest on a Boat

Diego GlazerNov 11, 2025

Starting to work on the block-in for my first painting at the program. Nothing fancy yet, just big shapes.Forest on a Boat · the making →

Progress on Dead Wood

Daniel ZallaNov 4, 2025

Yesterday I had the chance to bring my ideation into the physical world. Over the past weeks I have been developing a few larger concepts to paint. My imagination drawing skills don't often stretch far beyond a standing contrapposto, so it was refreshing get a model in and see how nature would solve some problems. With this simple step of gathering reference, I believe some nice compositions are just around the corner!Dead Wood · the making →

Progress on Self Portrait "Animus"

Emma GarayNov 4, 2025

Blocking in a self portrait. Observing the light in a new space.Self Portrait "Animus" · the making →

Progress on Forest on a Boat

Diego GlazerNov 4, 2025

I’ve spent the last couple of weeks ideating, sketching out ideas and doing color studies. The first idea I’m tackling is the concept of protecting and tending to what you value. This idea is represented by a forest floating on a boat. What do you think about these color studies?Forest on a Boat · the making →

Progress on Allegory of Curiosity

Jackson WredeNov 4, 2025

Before joining the Seattle Prize, I was kind of a night owl and a lot of my most intense working sessions would carry late into the night. This new schedule has given me a chance to change my routine, however, and I find that the morning hours are the most ripe for productive work—fine detailing and passages that require the most attention and brain power. After lunch if I can feel like I’ve already accomplished an important section for the day, the afternoon can consist of something a little lighter on my mental faculties, maybe scrubbing in a large pass or mapping out for the next day’s session Allegory of Curiosity · the making →

Progress on Allegory of Curiosity

Jackson WredeNov 3, 2025

A close-up of the figure outline I’ll be working into this morning. Friday was a bit of a struggle as I added my second layer to two of the other figures I already blocked into my composition. I spent so much of the day correcting some of the proportions I established on my first pass, so it’s a good reminder to really take my time and do a good job during this session today.Allegory of Curiosity · the making →

October 20254 posts

Progress on Giselle

Emma GarayOct 31, 2025

Creating idea/mood boards for potential paintings to be actualised in the upcoming months Giselle · the making →

Progress on Allegory of Curiosity

Jackson WredeOct 31, 2025

Here is a slide from my presentation I gave a few weeks ago regarding my idea for an allegory of curiosity painting. Since then, that idea has come a long way and it’s totally different than I first envisioned thanks to the feedback from my fellow artists. I’m still in the beginning stages of this painting but really chugging away and hope in the coming weeks and months that I have something really special to share with you that reminds us all to stay curious in our lives.Allegory of Curiosity · the making →

Progress on Allegory of Curiosity

Jackson WredeOct 30, 2025

Sometimes at the start of a painting day, I like to set up my palette with a few ‘color strings’ so that I have some small pre-made mixtures ready to work into the section I am painting that day. These ‘strings’ take just a few minutes to mix in the morning, and then they save me loads of time throughout the rest of the day as I have lots of options across hue, chroma, and most importantly, value ranges Allegory of Curiosity · the making →

Progress on Allegory of Curiosity

Jackson WredeOct 29, 2025

Here's a picture of my palette after yesterday's session...some fun pigments in there that I don't get to use that often (phthalo green, cobalt teal, etc.) I'm working on a large underwater scene so these unusual colors are going to be the norm going forward for the next several weeks.Allegory of Curiosity · the making →

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