This art gallery is for the display of fine art oil paintings on linen canvas cloth. These paintings are carefully reproduced as one of a kind (OOAK), limited edition, archival, giclee prints on canvas, numbered, signed and individually embellished in oil by the painter. The prices listed are for giclee canvas prints. Prices for the original oil paintings are available upon request. If you would like to host a show of the painter's work please email. The painter will display up to 34 original oil paintings in a show of his work.

The painter often does multiple "studies" before executing his final, finished interpretation. These studies are "looser", freer in style, with visible brush strokes, but lacking the careful verisimilitude or "photographic realism" of the more polished final work and as a result requiring far less time to accomplish. These studies are often displayed in galleries and shows and they will also be displayed in this gallery, often alternating with the final production.

This web site is designed, created and managed by Tom Jewusiak.

The images on this virtual art gallery are of necessity digital images and cannot compare to the oil paintings upon which they are based. The oil paintings must be photographed, the photographs developed, then scanned and the resulting digital images reduced and manipulated in such a way as to be practicably presentable and transmittable through the internet. The original scanned photographs are over 150 MB; the images on this online art gallery are only 100 KB or less than one-thousanth the digital data of the original scans. The giclees are also based upon these original digital scans and should be considered separate and distinct works based upon but different from the original oil paintings. In so far as light shines through or emanates from the digital images on this website they may seem more dimensional and since there is so little digital data the digital images, strangely, may seem more lifelike because the mind editorializes, filling in the missing detail.

(Realistic art often “clarifies” itself as you step back from it becoming more lifelike. I once believed that this was the magic of the painter but have since come to believe that it is we the observer who fill in the details, just as a hunter “clearly sees” a deer from the distance in a ball of cotton fluff. The trick for the painter is to give us just the right amount of detail in the right places for this mind manipulation to take hold.)

Some people actually believe that the highest proof or test of reality is to “see” something with their own eyes. In a court of law, so-called, eye witness testimony is often granted the ultimate veracity. However, if you were somehow able to present to a court of law a moving picture of the same quality as the “unprocessed” or rather uninterpreted data captured on the retina of the human eye you would be laughed out of the court room. First of all the moving picture presented would have a blind spot where the optic nerve attaches to the retina. Most importantly the only portion of the field of vision with good resolution is a very narrow area of approximately one degree of visual angle around the retina’s center, which is about the area of the width of the thumb as it appears when held at arm’s length. Outside that small region resolution declines sharply. To compensate we constantly move our eyes to bring the small sharper area to bear on different areas of the scene we are attempting to observe. We see, not as a snapshot but rather as a constantly moving picture assembled by the brain. The patterns of raw data sent by the eyes to the brain are problematic, badly pixilated with a serious hole in it. However, the brain processes the inadequate data it receives bringing to bear a lifetime of experiences and prejudices. It fills in the gaps on the assumption that the visual properties of neighboring locations are similar and interpolating them into a whole. The result is a person convincing himself that his vision is clear and accurate. Furthermore it is often the imagination that fills in the gaps. We see not with our eyes but with the totality of our experiences. We dream with our eyes. The blind who have had their physical sight restored after a lifetime of blindness can make little sense of the visual data that the now working eyes send to the unpracticed, unschooled brain. They haven’t learned to see. We learn to see, in some ways, the same way we learn to speak or to think. We have to learn to process the raw sight data we receive, which by itself is meaningless.

Speaking of the painter Florida Today quotes: "There are times when the detail will carry work into the realm of magic realism because the light and shadow are so crisp that the architectural volumes pop out like they're three-dimensional. That's the magic..."

“The excitement of the experience lay in its incredible detail. Finely drawn architectural elements pop out of the picture plane because they are so well drawn, then meticulously modeled in lighted shadow. Take a very close look. It is a high compliment to the skill of the artist when the work holds together and reveals even more secrets upon close inspection.”

Come and see the original paintings. Viewers often ask:“how do you do it?”: with pigment suspended in linseed oil applied to thick linen cloth with animal hairs attached to the end of a wooden stick.