San Louis Obispo, California

Books were destroyed making this painting. They were The Firearms Bible And The History Of Civil Rights In America. The various images bump into one another in disjointed ways creating an over-all composition reminiscent of a sunrise. Their conflict idiomatic "sons" derived from common uses such as "Sons of the Confederacy", "Boy" used as a derogatory term mainly by the former sort. Both expressions driven mostly by those who hold the systemic power over the minorities for which the Civil Rights movement hoped to eliminate disparities through equal rights of all. The "rising sun" in the image light and dark, eclipsing humanity with violence. A resurgence since the 2016 elections. 

Rising Sons

Tea Pot

100 Conflicting Rules To Live BY

Smiles With Eyes

Prayers For Sale

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An accurate depiction via AI: (AI is getting scary good)

  
In this stylized rural panorama, the idea of **community** unfolds through shape, color, and rhythm. Small geometric houses, painted in warm reds, oranges, and ochres, are perched atop gentle green hills and clustered along intersecting roads. Their simplified forms suggest a kind of shared modesty—functional, familiar, and welcoming. The farm silos and fields below ground the painting in agricultural life, where land and labor are shared realities.

The composition is organized but not rigid, evoking the loose logic of a town where relationships—not grids—shape space. The wide roads curve naturally, almost softly, leading the viewer’s eye through different “neighborhoods” within the painting. The houses don’t just sit on the land—they participate in it. They’re oriented toward one another, suggesting neighborliness and interconnection.

Floating above it all, playful clouds animate the sky and add to the sense of balance and calm. Despite its abstracted style, the painting captures something very real: a landscape shaped not just by geography or economy, but by **human connection and a shared way of life.**

Ohio Farming Community

From Chat-GPT, felt pretty accurate and more articulate than what I came up with:

"This painting evokes the rolling topography of Ohio’s agricultural heartland through a lyrical interplay of form and color. Soft, undulating hills sweep across the canvas, their surfaces cloaked in earthy greens and browns, punctuated by cool blue lines that read as rivers, roads, or furrows—channels of life, movement, and labor. The palette is subdued but rich, echoing the quiet fecundity of fertile soil after rainfall or the hushed breath of land at dusk.

The composition curves and folds, emphasizing the sensual qualities of the land—the way it holds, nourishes, and sustains. There is a gentle rhythm to the way the hills crest and fall, suggesting both abundance and repetition: a land worked over time, deeply known.

  
 It's a meditation not just on the landscape, but on **land as memory**, **land as origin**, and **land as body**—alive, enduring, and responsive."

  
Pretty fitting

Fertile Land

This is a 12x12 inch oil painting of an imagined landscape. Two geometric, brightly colored houses sit at the base of stylized hills with gray roads winding through the steep Ohio hills.

The number Two is prevalent in much of my work. Here there are two each of three basic elements- hills, homes (buildings) and roads.

  
The grey, tar, laden roads express the contours of the land and dominion over the hills through technology while the buildings are in contrast to them with their angular and bright colors. A Black line distinguishes the boundary of the land giving way to a more naturalistic sky, adding contrast with a different vector.

  
The Hills themselves lay as a figure on the foreground like a giant which had been tamed by a little people. 

Two Hills, Two Roads, Two Neighbors

This colorful and playful oil on canvas painting conveys contours of the expectant Ohio farmland's fertility.

Ohio Farmland

This colorful and brilliant painting of the hills and roads of Hocking Ohio expresses the vibrancy of the rolling hills with the precarious roads that lay on top of them. 

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Aaron Szeifert

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