Is size everything?

We live in a culture and learn from a very young age that if something is bigger it has to be better. Like Robin Williams once said, "we need big American cars, to carry around big American butts”. It’s a funny and true statement based on a period of our history. Now people are finding quality through necessity through foreign car manufactures which all started with the price of fuel.

My point is, things change and mostly because people are forced to make changes.

When I embarked upon my most recent phase of my art career, it was clear that a shift was taking place, not only in art but in peoples perception of quality versus quantity. Most recently I have been creating small 12x12 inch and 20x16 canvases of the inner city.

As it turns out “the devil is in the details”. I have created much larger paintings most of my career and found the process relatively straight forward. Now with these smaller pieces I am finding my technique is being challenged and I am forced to make some changes in time spent and attention to detail. Basically these small pieces are much more difficult than large pieces.

That being said, I have expanded this series of work to include, new paintings of Urban Culture and I am excited that anyone can afford to own one at a $350. price point for a 12x12 and $650. for 16x20. I now have framing available at wholesale prices as well.

I have sold 2 of these in the past 2 weeks, so if you want to give someone a cool gift, drop by Grudart and drop me a note. I am happy to help in anyway I can.


Selling stuff

It’s that time of year again, when everyone and their dog is trying to cash in on the franticness of the Christmas Holidays. This year we had a postal strike that threatened some online merchants bottom line. These people were freaking out and wondering what they were going to do.

Paper People  Day is a celebration of diversity. What happens in  Paper People   Land  stays in  Paper People Land .

Paper People Day is a celebration of diversity. What happens in Paper People Land stays in Paper People Land.

Me! I make a living creating, exhibiting, and selling art and it is that very idea of making a living that funnels down to understanding peoples frantic disposition around Christmas. I don’t buy into it, because having loyal patrons comes from time, trust and and developing relationships. I have a connection to those who own my work—after all, my work is about people.

Expediting a project because it’s Christmas seems ludicrous to me because each one of my projects takes on a sort of sacred value which transcends a moment like Christmas—existing throughout the year.

People should have my art, and on terms they can afford but from a personal perspective and not an economically generated perspective. Don’t get me wrong, art is art and different people have different reasons to own a piece but ultimately that piece of art will hang somewhere for people to simply ponder and enjoy.

This is kind of weird but ask a piece of art a question, for example, why are their so many lines or why does the sky have green and pink in it and your imagination and creativity will open you up and provide you with unlimited possibilities and all it takes is a question.

A friend and client who owns several of my paintings, had been trying for years to get me to part with a particular painting. After several yearly meetups and dinners and copious amounts of alcohol, I gave in and he became the very proud owner of a very special Grud painting.

Years past, life’s trials and tribulations had found us both at opposite ends of the continent—him in Mexico and me in Calgary. We hadn’t talked for a long time until one day I got a call with a familiar voice reverberating on the other end of the phone.

Hey Grud! “Why did you put that bit of yellow on the left side of this painting”? I had no idea who this was or what he was talking about.

It was my buddy from Mexico and he preceded to explain—after he acquired the fore-mentioned painting , so many years ago, he would lay on his couch, looking at it and analyzing it, imagining what I was feeling and thinking as I painted it. To be honest, I couldn’t recall my process but I was very sure that the bit of yellow he was talking about was a colour element I used to balance the piece.

After that, it was very clear to me that great art is indelibly connected to its creator and it makes its way into the world through the patrons eyes. That day I really understood what was so important about my art.

I am in the business of relationships and I care about who owns my work.

Selling stuff is simply an exercise in arbitrage.

Take a chance and take a look at some art, right now, and let me know what you think.



Merry Christmas !


Stash Lisa-620x.jpg

If a person creates something derivative without knowing it’s derivative is it derivative?

I remember a story years ago about a very young artist that was on the verge of creating a very large body of work. Her father was a painter and he was helping her market what he thought was work of a child prodigy.

It’s true—her art was technically advanced for a seven year old but after seeing her images, I was struck with an overwhelming sense of familiarity. I didn’t quite get it at the time—as the media was jumping all over the story—saying things like the next Picasso. As the story dwindled over the next couple years—I would hear people refer to other children, even animals as prodigious artists.


It was becoming annoying as people would refer to good abstract art as something their child could do.

In the 80’s, the internet didn’t exist, so media was T.V. newspapers and radio. I was in the middle of my B.F.A. as painter and was overwhelmed with research papers and theory classes—when I discovered a book , full of large coloured plates of van Gogh’s paintings and drawings—a revelation, began to unravel that earlier story of the child prodigy. As it turns out—that child had learned very skillfully to copy Van Gogh’s images—her father was feeding her the material and helping her to add her own content, all in Van Gogh’s style.

I am not naive to think that we all beg, borrow and steal on occasion, to gain inspiration. tempered, known, use of imagery though, is about integrity. Artist’s stay current by being in constant flux with the world via the internet, which allows us the privilege of seeing other artist’s work and the natural wonders of the world when ever we want, from where ever we are.

Art has never been so accessible!

Back to the question—If a person creates something derivative without knowing it’s derivative is it derivative?

I don’t bloody know but what I do know—when it comes time to make art, I pay close attention to my intuition and if an alarm goes off, I assess what I am doing and where it came from.

I try to be open about my work and I am aware of the potential derivative nature of any piece I produce—that being said, nobodies perfect and when it comes to my art—I lead with integrity.

I am working on a piece at this very moment called “Popular Culture”— it could be the beginning of a new series of paintings. If pursued as a series, it will be a collection of mainstream and not so mainstream images used in various contexts.

Derivative Painters

Banksy Stunt

There is not much known about Banksy except he’s a street artist and political activist who’s face has never been seen and he lives in London. His work has become iconic and has appeared in different cities around the world. He creates visually diverse images ranging from a mouse riding an exactor blade to a bottle of champagne in a carousel. His work has a social economic relevance that leaves us to ponder our perceptions of the world.

His art is stenciled images which are primarily sprayed on surfaces.

Banksy is an original and has managed to keep his identity secure. His art is sought after and copied and stolen all the time.

One thing seems very clear to me, his art is for all people of the world not just the elite.