I liked “sea” the best, but all of the abstracts appealed to me also. In “sea” I can feel the movements of the waves - that’s a hard thing to catch, movement. Well done.
I don’t know nothin’ ‘bout nothin’ regarding art, but I really enjoyed Red and White Flowers, the Drip series and Cillian. Also, although abstract stuff is so not much my thing, Red gave me quite a pause. Plus, if I was really a hipster (versus a dork), I’d purchase WhiteFlowers in a heart beat. That is, if I could afford it. 
Interesting - you just described all the reasons why I like that piece. I like being thrown off balance - they do say art should move you!
I still love your concepts, altho I still think the “cut out” paintings could be a little crisper at the edges and have less noticable brush strokes. I really love “green” despite the inaccurate title lol. Did the camera change the color?
I have thought about selling some of them, but there are a few things holding me back. Mainly that I feel like the pictures are from a cheap camera and aren’t the greatest pictures and the paintings do look a little different in real life. While I think they all mostly look better in real life, I’m afraid I would sell one and the buyer would get the painting and not like it in person. I realize that sounds really paranoid and insecure, but that’s how my thought process goes. Also, I would have absolutely no idea how to price my paintings.
Thanks, glad you like them. I’m not sure which paintings you mean but “cut out,” but I do know what you mean with the brush strokes. I’ve gone back and forth on whether I want the brush strokes to be more or less noticeable. In many ways I like having the brush strokes noticeable, since it draws attention to that you are not looking at a flower, you are looking at a picture of a flower. It’s kinda about the process of making art. I’m not sure if that makes any sense, or just sounds like crap I just made up; I’ve never really but into words my thought process behind most of my paintings, but that’s how it is. I do realize however that I can improve my technique so that it looks more deliberate instead of accidental.
Also on “green,” the color was a little distorted, but I also just decided to call it green instead of rusty blue-green or whatever the real color would be called.
I feel dumb, because after I posted my last reply, I realized that by “cut out” paintings, you probably meant Yellow Fish and White Flowers, where the images were cut out. I blame the fact that I’m an engineer as being the reason I’m not always able to communicate correctly or understand other people’s communications fully. Or I was just having a brain fart.
Anyway, I agree with your thoughts on the crisper edges there. If I was going to redo Yellow Fish, I would leave the background as it is (or maybe with a slightly different color blue), but I would spend more time on getting the fish outlines to be more precise.
Now, after I fix some dinner, I’m going to go paint!
Ain’t that the truth? It’s so hard to tell what’s genuine when people discuss your art because there seems to be some sort of taboo about saying anything negative to an artist about their work. I wish more people would be critical (not mean, mind you, merely honest) when you show them your art and say “what do you think?”
Some of your abstract works are very vibrant. I’m not so keen on the representational material, especially things where the subject matter is exactly centered in the middle of the canvas with no other context.
I’d like to add to what was said earlier about balance: part of balance is movement of the eye. There has to be something that makes the eye travel from one part of the painting to another, and hopefully that movement will involve the whole painting. A picture where the eye goes straight to one corner, or straight to the middle, etc., and never travels away is a painting that has lost the potential the other areas of the canvas could have had.
It’s tough though, when you don’t feel you have the expertise to really say anything from a place of knowledge. I mean, I could tell you I think it’s pretty, or how it makes me feel, but I wouldn’t have the balls to critique something when I don’t “know” art.
I didn’t mean the “outline” paintings, altho those could do with crisper lines. I meant the paintings where there are large blocks of a uniform color like Cat, Sky, and Plane. The brush strokes actually work to your advantage in yellow burst because they all radiate from the center and seem intentional. And in ones like the yellow bird, where the back ground has a purposeful texture are good too.
But where you have uniform color foreground objects in which you can see the brush strokes, and the strokes are just whatever strokes it took to fill in that area, it looks a little sloppy. I think those areas would look better with a flatter texture or no texture at all. The exception would be Bunny and Yellow Flower, where either there’s a contextual reason for the texture (bunny fur) or the texture gives the area volume (flower petals). I just think that in the cases where the paintings are more iconic or stencil-like, it makes a more powerful statement to have flat textures to enhance the feel.
Of course, I can’t give advice on how to better achieve this technique. It’s definitely difficult to achieve flat textures and crisp lines freehand and with certain paints. Wish I could give more technical advice Keep up the good work, look forward to seeing more from you in the future!
I love Yellow Burst, Dots, Burst, Birds in Tree. That’s the kind of art I’d like to hang in my home, if I had one. The abstract art wing at the art museum is my home decoration fantasy place.
Any progress on setting prices on some of these? 
I like Birds in Tree, Red and White Flowers, and Umbrella.
Heh, not yet. Since there does seem to be genuine interest by some people in purchasing them, I am considering starting to sell some. I’ll have to do some research in how to set prices, how to mail the paintings, and other stuff like that. I’ll probably start a thread on it soon.
Thanks again for everyone’s comments and compliments. The last two weeks have been pretty awful at work, and it has helped not just having a hobby that I enjoy, but that I seem to be pretty good at. I’m not going to be quitting my day job or anything, but it’s nice having my artwork to think about when my regular work is driving me mad.
I didn’t really read everyone’s comments here, but I think you have a strong graphical sense that comes through. You have some pop cues in there that have been boiled down, like Yellow Burst, and Boom. I love those.
Observationally, I really enjoyed Balloons (there’s a certain positive/negative thing going on there that feels right). Also, I think Birds in Tree is one of your best, probably your strongest and most approachable.
Good work! I can see this stuff on my wall.