Original Works

Limited edition of 10.

Traders harvest chips of brilliant and shimmering  rock from outwardly dull-colored standing stones in a seemingly desolate place.

Printed at 600DPI at the size of the original painting (9×12 inches) with a white border, on archival acid-free fine art paper, in archival pigment inks – spray-coated with a matte finish for added resiliency and UV protection.

Each of these only 10 prints, is hand-signed and numbered by Myke Amend. To make them even more rare, and each a unique work of art, prints will be hand-embellished (little added details painted on in acrylic paint) to set them apart as original works.

Drawn on 14×11-inch acid free art paper in archival pigment ink. One of several drawings/variations for a painting on the board. I couldn’t help but to finish it, filling it in with whorls, swirls, hatching and other textures.

Painted at 12×24 inches in acrylic on tempered hardboard backed with birch.

An 1800s deep sea explorer meets with the Ocean’s Emperor.

Part of the Airships and Tentacles series, which is coming to a close this year.

Acrylic on birch panel mainly in shades of deep blue with touches of orange.

This is one of my larger Micro Paintings (a large painting packed into a compact space through really dense and tiny detail). The size is 8×10 inches

Custom framed with custom painted frame painted by me.

Painted on a 12 x 24-inch birch panel in acrylic paints. Even the images below can’t possibly give you a good look at all the detail in this piece… but that is the story with most of my works.

I decided that I break far away from my typical American Art Movement or Luminist style, and delve into something more Art Nouveau or cartoony (I chose somewhere between ‘both’). I didn’t sacrifice detail, yet I still find the deviation from realism rather pleasant and fun. More pieces like this one may follow.

I will draw on a sepia-tinted sheet of 11×14″ bristol board in black graphite and white charcoal.

I will make them pretty – because I really cannot bear to let anything go if I do not feel it is worth showing. This means I tend to put way more time than paid for into any work I do for anyone because I am just that picky.

I would prefer that these works be steampunk themed, Lovecraftian influenced, alchemical, metaphysical, otherwise spooky and or pulp, I can go for camp as well … especially if it involves tentacles.

I will customize… somewhat. Tell me (in the payment details on the paypal/payment side) something about you or things you like. Don’t make it *too* hard on me, I can do most anything, but when there are *too* many specifics, it is no longer art an I become your doodle monkey extension, which isn’t what I am going for here.

Depending on whether you are the first, or the fifth, that drawing will come to you sooner or later. I’d say allow a month.

From the cutting room floor.

A doodle I did in the process of designing a magazine cover for Gatehouse Gazette, before changing the approach entirely.

24 inches by 36 inches in acrylic on canvas, painted on front and sides.

An unhappy sleepy deity wreaks havoc on a pesky lighthouse.

This piece is highly detailed, with incredibly fine linework.

The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.

Size: 9×12 inches

A tiki-culture piece I did on my return from California

This piece is highly detailed, with incredibly fine linework.

The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.

Size: 9×12 inches

This piece is highly detailed, with incredibly fine linework.

The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.

Size: 9×12 inches

8×10 inches

I did a number of these engravings as a set, partially as a practice run at intaglio.

They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

Though they were all done within the span of a couple of months, this one was one of the very first – depicting strange wooden beasts spotted from the coast of the Americas

Total size Framed: 8×11, with a hand-made hardwood frame made by me.

The engraving (5×7) is in ampersand art clayboard black (thick tempered hardboard, ph neutral white clay, india ink). It is durable, and long-lasting, and highly, highly archival (some of the very oldest artworks in existence are made of clay).

It depicts H.P. Lovecraft’s “Resonator” of “From Beyond!” in steampunk mad-scientist fashion.

9×12 inches

I did a number of these engravings as a set, partially as a practice run at intaglio.

They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

Though they were all done within the span of a couple of months, this is one of the very earliest of them all – This was, I think, my 5th such go at engraving.

I was stranded in an ice storm in deepest, darkest Missouri at the time – power was out almost statewide, weeks I in our region. I was reading whatever books were handy, and thinking of someone who was on the other side of 20 miles of fallen trees, darkness, and panicked people. These particular scene out of C.S. Lewis Perelandra struck an accord with me.

8.5×11 inches

I did a number of these engravings as a set, partially as a practice run at intaglio.

They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and India ink, with an archival rating of hundreds of years.

This is one of the earlier ones, depicting a projection of self, or sometimes invisible friend, from my early childhood – my shadow self, an incarnation of anger toward humanity, distaste for being human, and my love for the forest and nature in general.

Painted at 49×32 inches, in acrylic on rough canvas this original painting is a haunting, serene, and equally strange piece, with bizarre lighting and shadow effects which make some objects and figures seem to lean out of the painting.

This surreal piece is heavily-influenced by Spirit Walking (or long-term sleep deprivation I like to call it), and took me nearly a week of standing, leaving the painting only for restroom breaks. My knees buckled whenever micro-naps threatened, and I painted up to just an hour before my big art show – which I ended up sleeping through, and through an additional several days.

In the weeks that followed, my roommates complained of seeing things walking the hallways, things that I had seen staring at me while I painted, and had never mentioned.

I am agnostic, but with my religious views mostly leaning toward physics and quantum physics anymore. Still, I am a bit superstitious when it comes to this piece.

I’ve always felt that this piece had some rather strange energy to it, coupled with memories of a rather eerie and dreary experience, like I somehow made that residual energy cling to this piece, bound a part of myself to it. I suppose I do that with all works in a sense, such is a part of art – but there always feels to be something more to this one.

Though people really seem to love this piece when they see it in person, at home it remains stored away in the basement – waiting to be sold.

A lonely cliff scene (Half Moon Rock in the Historic Daniel Boone Forest), serene and violent at the same time. A silhouetted figure throws roses into the wind brought by a not-too-distant storm on the horizon.

Acrylic on Canvas

With solid wood frame hand-made by Myke Amend, painting Acrylic on Canvas Board, 5×7 inches. Total size 8×11 inches. Part of a three painting series, which is a part of an ongoing series of mini-works (“Smile”), made in sets of three.

With solid wood frame hand-made by Myke Amend, painting Acrylic on Canvas Board, 5×7 inches. Total size 8×11 inches. Part of a three painting series, which is a part of an ongoing series of mini-works (‘Smile’), made in sets of three.

With solid wood frame hand-made by Myke Amend, painting Acrylic on Canvas Board, 5×7 inches. Total size 8×11 inches. Part of a three painting series, which is a part of an ongoing series of mini-works (‘Smile’), made in sets of three.

9×12 inches on Ampersand Art Clayboard Black. Archival life: 200+ years.

This engraving was done as the cover for issue #8 of the GateHouse Gazette. It is 5×7 inches on Ampersand Art Clayboard Black. Framed in a solid wood frame hand-crafted by Myke Amend, total size Framed: 8×11.

Though small, these engravings are so incredibly detailed, that no web image could ever do them justice. Rest assured, this is a very fine piece of work, and very skillfully crafted.Properly matted and framed, it would make an excellent addition to any space.

These engravings are done on archival claybord – a thick, tempered archival hardboard layered with archival white clay and india ink, all acid-free. The archival rating on these pieces is 200+ years.

Drawn in pigment inks and colored pencil on acid-free paper at 11×14 inches.

Engraved on Ampersand Art Clayboard (archival tempered hardboard layered in white clay and india ink). 5×7 inches and rich in details.

Painted in oil on tempered hardboard. 24×24 inches. This was my second oil painting.

I just finally had this piece professionally imaged, so I am finally ready to let it go and put it up for sale.

I have hand-made a wooden frame for this piece, stained it with a few coats of red mahogany, and sealed the frame with varnish for a very sturdy, very rustic and elegant looking piece. The full size of the framed piece is 36×36 inches.

I am offering it ridiculously cheap because the face is that of an ex of mine, and my fiancee doesn’t want it hanging anywhere. It is a beautiful piece, and a lot of work – the work I put into making the frame alone is worth this price.