The one in the marks, and the one written to live beside it. Original works by Charles Griffin and Korbet Griffin — each paired with an original narrative.
I started stippling because I wanted to understand patience. Each dot is a decision — a deliberate mark that doesn't erase. Over time I realized the work isn't about control; it's about accumulation. Thousands of tiny commitments that become something you couldn't have planned.
Most of my pieces are portraits. Not because faces are the easiest subject, but because they're the hardest. A face holds context that a landscape doesn't. Get the eyes wrong and the whole piece fails. Get them right and you've made something that watches back.
My work starts with color and feeling, not a plan. I work in pastels and mixed media because I like the resistance — the way soft pastel fights against a rough surface, the way collage elements push back against what you thought you were making. The tension is the point.
What subscribers receive each month is a window into that process. Not a finished thought, but a finished piece that still has the argument visible in it. The layering, the erasure, the change of direction — it's all still there if you look. That's what I want people to live with.
We won't show you the work before it arrives on your doorstep. But we can tell you what you're getting into.
Charles's stippled portraits are built from single ink marks, layered until a face emerges from density and light. Subjects drawn from memory, observation, and imagination — rendered at 8×10 on archival stock.
Korbet's pastel pieces are emotional first, compositional second. Fields of color with tension built in — not quite resolved, not quite restless. The kind of work you can look at for years and keep finding new rooms inside.
The mixed media pieces combine found material, ink drawing, and pastel into layered surfaces. Each one has a history visible in its construction — fragments of something older underneath something new. You can feel the decisions.
Every print subscription includes a behind-the-scenes sequence — four photographs taken at different stages of the work's creation. Sent with your print.
You'll see what the piece looked like before it became what it is. The early mark, the doubt, the turn. Most people never see that part of the process. Subscribers do.
Before composition is decided. Raw start, no commitment yet.
Where most pieces either find their direction or fail. Usually the most interesting photograph.
The piece as it almost was — before the last significant decisions.
What you receive. Now you know the whole story.
Subscriber prints ship before the gallery releases. Editions are capped at 50 — once the collection drops, first month subscribers get first choice of their print.