The Music Series 5 are Featured at the Songwriters Festival , Dripping Springs, Tx 2025

All 14 images (11x17, unmounted and unframed on high-gloss photo paper) are available online and numbered 1–14 for easy ordering. At the Songwriter Festival, you’ll see 5 of these pieces beautifully framed on display, and the full collection is available online for you to explore and enjoy.

After the Last Note
Every performance leaves behind a bloom, a bruise, a breath.

Draped across the piano with their hand to heart, this image embodies the aftermath of music — the quiet after intensity, where passion lingers like a scar and a flower.

Cactus in Confidence
Insincere or intended to deceive — from the hush where whispers conspire, the instruments emerge, a torrent of color against silence. The cactus salver stands unwavering, reminding us that music carries its own confidence — enduring, unshaken, and alive in every note.

Concrete and Chords

Even the streets carry a song if you know how to listen.

Set against the historic F.W. Miller Texaco station — now The Station on Mercer, a 1940s landmark in Dripping Springs repurposed as a micro event venue — this piece fuses architecture, pavement, and pumps with the language of music. Concrete and chords coexist, showing that rhythm finds its stage in the most unexpected places.

Eyes on Amy

This piece is a visual echo of Amy Winehouse—eyes that still watch us, music that still calls. The embedded QR code links to one of her unforgettable performances, blurring the line between image and song. It’s both a tribute and a reminder: though her life was cut tragically short, her voice endures, unshaken by time.

Fallen Into Song Frozen Encore

Style fades, rhythm remains.

The glass piano becomes both stage and tomb, fragile yet eternal. Draped across it, the figure embodies surrender to music — fallen into song, frozen in its aftermath. The encore lingers not in sound, but in silence crystallized.

I’ll Be in The Backyard

Sometimes the truest songs are poured, not played.

A quiet rebellion lives here — not on the stage but in the stillness of a backyard moment. The zebra, framed between bottle and glass, becomes both witness and storyteller. Smoke curls into memory, whiskey glows like liquid time, and the scene whispers of rhythm found offstage. I’ll Be in the Backyard reminds us that artistry is not only in performance but in the pause — the spaces where reflection takes root and life writes its own verses.

In Honor of Cindy G – Semblance
This work is a tribute to resilience and the eternal spirit of music. From the terracotta salver, life blooms, while skeletal figures rise upward, carrying sound as both burden and triumph. The burst of instruments and color reminds us that even in loss, music lifts us, transforms us, and carries memory into light.

Obscure in Blackness

Music lives beyond the color of sound.

Bold geometry collides with a burning lunar presence. Stripped to its essence, the vessel becomes an emblem of resilience, holding stillness against the shifting pull of light and shadow.

Resonance in Layers

Every chord is a story built on echoes of the one before.

This piece is an interplay of detail and gesture. It layers the precision of guitar strings with the loose rhythm of drawn figures. It suggests how music lives not in a single note but in the accumulation of sound, memory, and motion — resonance upon resonance.

Rust and Tempo

Even in rust, music endures.

An aged truck becomes an unlikely instrument, its weathered surface framed by abstract rhythms and color. The rust speaks of time’s passage, yet within it lingers a pulse — a tempo that refuses to fade.

Sharp as Rhythm

The body becomes the instrument when the music wears you.

A striking play of style and rhythm, this piece captures the spirit of the Zoot era — bold, unapologetic, and alive with movement. The sharp silhouette and layered textures echo the swing of jazz clubs and the swagger of street culture, where fashion itself became performance.

Sounds of Shadows

Music lives beyond the color of sound.”

Stripped of color, this piece reveals the stark intimacy between musician and instrument. The black-and-white palette emphasizes shadow, form, and gesture, suggesting that music transcends hue — it is felt in silence, in contrast, and in the spaces between.

Unmasked in Melody

“The self dissolves where sound begins.”

A surreal fusion of face, figure, and instrument, this work blurs identity with music. Vivid color and abstract form surround the central guitar, suggesting that expression is found not in words but in the unmasking power of sound.

Walk the Beat

Every chord leaves its mark on Mercer Street.”

Set against the historic 1940s F.W. Miller Texaco station, now The Station on Mercer, this piece frames music as memory and movement. The gas pumps stand like timekeepers, while the central guitar image resonates as a tribute — a reminder that when you walk the beat, you step into echoes of the past.