This is the last of three High Society magazine editorial pieces I purchased directly from the artist. When he sent me photos of the three paintings, it wasn’t even a matter of choosing. I knew almost immediately that I wanted all three. Luckily, I not only had money at the time, but more importantly I had enough to afford them all. I was just so happy not to have to choose.

I’m such a big fan of Jonathan’s. And apparently, I’m not the only one. He was recently featured on an episode of David Finch’s YouTube show where Finch professed to being a fan. The most interesting (and funniest) moment of the episode for me was hearing Jonathan tell Finch that he really didn’t feel he was a very good painter. It’s a good thing I wasn’t munching on anything while I was watching, or else I might have choked on my food. LOL! But I started thinking about his statement and I realized he was absolutely right. Jonathan is not a “very good” painter. He’s an effing PHENOMENAL painter! Sure I’m biased. I’ve been a fan since 2009 (and a friend for nearly as long). But all that aside, I don’t think it would take much to back up my assessment. I have more than enough examples in my collection to help me make my case. And thank goodness for that preponderance of evidence, since I really didn’t want to have to fight anyone who says different. LOL!

About the art. As with the other two, it was created for the magazine around 2010. It’s done on a 22 x 28 sheet of 140lb watercolor paper. And executed in acrylic, inks, watercolor, and colored pencil. Oh, and I don’t want to forget the staples, à la Sienkiewicz-Stray-Toasters (see Additional Images). When Jon posted the painting in his own CAF gallery, he said that the whole High Society experience was a great time for him professionally. There were no editorial restrictions, so he basically had carte blanche for the 2-3 years he worked at the magazine. As Jon himself put it, he was basically paid to experiment and express himself as an artist. I imagine there are few things more precious to an artist than complete creative freedom. I think all of these factors really contributed to how exciting these works are. Even in this particular piece. As dark and disturbing as the theme and imagery are, there is also an unmistakable sense of liberation and exuberance most likely born of the uninhibited work environment. In any case, I am very happy and very proud to be able to feature them in my collection.

Nothing left to do but thank Jonathan for his kindness, his generosity, his friendship, and this amazing work of art (oh, and thanks for the great scan too).

As always, I thank all of you fine folks for stopping by.

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