After a “self-imposed hiatus” of 10 years, Smith is reemerging into public view with a new exhibition, “The Third Act,” at the Mills Gallery in Orlando’s Mills 50 neighborhood. The Delaware native spent the last decade creating more personal works that serve as commentary on America’s industrial complex, genetically modified food and current events.

“The first act was as a child painting and drawing because I liked it, then doing it professionally for a long period of time before taking 10 years off,” Smith, 57, said. “The show features work from the period where I was out of public view. It was around ’08-’09 until the present day. It is biased toward the newest work.”

The exhibition was curated by Jillian Pini as part of the Emerging Curator Program in collaboration with the Delaware Art Museum and the John William Gallery. In the last 10 years, the now Jacksonville-based Smith created more than 150 works that Pini combed through and narrowed down to around 25 pieces for the exhibition.

“I had been immersed in my own work for 10 years and hadn’t shown any of it,” Smith said. “I didn’t know what cool is anymore and needed somebody else to look at it to get the full picture.”

One of Smith’s recent works reflects on his travels to Barcelona, though it’s an abstraction rather than a realistic depiction of what he saw there.

“I can draw things very accurately but with this piece, it’s more about the impression when I came back,” Smith said. “In my mind’s eye, it’s about what it felt like more than what it looked like.”

The rest of the exhibition includes hand-embellished prints, paintings, drawings and one sculpture. It was Pini’s idea to put some of Smith’s sketches and figure drawings on display.

“She said, ‘We have to show these. It explains the way that you think in a really coherent way that is visual’,” Smith said. “I’m really attracted to the tactile quality of art. One of the reasons I still paint and don’t do digital is I like the smell, the sensation and the touch. Digital can’t have that.

While some of Smith’s illustrative work made in his career was crafted with a specific output or end product in mind, the artist finds he loves the process most of all.

“Working purely in a flow state, tapped into your subconscious, always yields something really interesting,” he said. “You can never be sure what the output is going to be, which is the interesting part but also challenging if you need to communicate something specific.”

Reflecting on his successful career as an illustrator and his time spent working as a fine artist, Smith said he is satisfied with the trajectory of his life.

“If I could go back and live my life again, I would do some things differently. But I would live it again from start until now 100 times over,” he said. “If I could go back, I would be in the moment a little bit longer for things. I would celebrate some of the victories a little bit differently and slow down for a sec.”

Click the photograph to go to the original article!

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Wait, a magazine in 2025!!!!

I love commissions of any type, but I especially relish Illustration assignments. They normally have a short time frame for completion, and this compressed schedule forces you to make good decisions at a rapid pace. In this case, there was only a week between the assignment and the delivery date, with a generous pad of a few days to get the work photographed. In most cases, I am left to my own devices in terms of content and composition, with light direction from the client. This ensures high-quality artwork that solves a specific communication goal.

Preliminary sketches and work in progress.

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The VIP invitation-only party will be held on November 5th and will feature select new works by the artist. The event is a preview of the works created after his smash solo exhibition at Mills Gallery, May-August 2025, and before this year’s end. The work will be on view from November 5th through January 15, 2026. This event will be a one-on-one/small group tour through selected works with the artist at the VIP opening, with a Public opening the week after.

The “Playlist”

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Mark T. Smith is an internationally acclaimed artist known for his vibrant Neo-Pop-Modernist style, which has captivated audiences worldwide. His work has graced major corporate campaigns, international events, and the walls of celebrity collectors Jay Leno, Bang Bang, Neil Diamond, and Sir Elton John. This exhibition marks a significant moment in Smith’s career: his return to public exhibitions after over a decade, during which time the artist continued his robust studio practice but kept it out of public view.

Mills Gallery is located in the heart of Orlando’s dynamic Mills 50 neighborhood. The Mills Gallery has been a cornerstone of the Orlando art scene, recognized as the city’s best art gallery for past two consecutive years and recently transitioned to a nonprofit foundation, solidifying its role as a cultural hub for the City of Orlando.

“The Third Act” Curatorial Statement by Jillian Pini

Symbolic and metabolic, personal and universal, Mark T. Smith’s art is a meeting point between the representational and the abstract. In this way, his artwork is uniquely accessible to a wide audience and fosters connection between artwork, artist, and viewer. His “neo-pop-modernist style,” draws inspiration from the New York art scene in the late 90s, advertisements, graffiti, and general pop culture, which results in a relatable and engaging visual language. The Third Act explores the current era of Mark T. Smith’s creation, born of years of dedicated studio practice. As we follow through his processes of creating, the story of a passionate, persevering artist is revealed.

Mark T. Smith’s artwork is immediate, drawing the viewer in with vibrant color and familiar symbols. His work is deeply expressive and therefore deeply human, spanning themes of mortality, identity, and resilience. Smith’s identifiable icons and inextricably human experiences provide entry points for the viewer. He utilizes modern icons like the jukebox and the factory, alongside ancient symbols such as the skull, the bull, and the laurel wreath. His evocative use of color, recognizable iconography, and abstract mark making create a visual language that reflects his artistic intention: to express the universal experiences of life and explore what it means to be human. 

Born in Delaware and working worldwide until settling in Florida, Mark T. Smith is an accomplished contemporary artist. Notable patrons such as Absolut Vodka, Walt Disney Co., Yum Brands’ Taco Bell, Stellantis’ Chrysler and many more supported Smith early in his career due to his consistent vision and dynamic aesthetics. In recent years, Smith has dedicated himself to independent studio practice, with a focus on connecting with and invigorating his unwavering passion for art. Smith is a prolific artist who has ceaselessly created throughout his decades long career. He spends hours in the studio honing his craft, constantly learning and growing. In Smith’s practice, process is integral. Classically trained, Smith carries traditions of draftsmanship and observation in his process. He hovers between what he describes as “the known,” referring to traditional education, and “the unknown,” referring to the spontaneity of a flow state. Together, we move through his creative problem solving: from preliminary sketches to finished artwork. 

Mark T. Smith’s latest works shift towards a more fluid approach with boundaries less clearly defined, a reflection of transformative events in his life. Here, his iconography becomes an anchor amidst more abstract forms that require and encourage deeper engagement. In this exhibition, we join Smith on an artistic journey throughout his past decade of secluded evolution. After 14 years of private studio practice, Mark T. Smith is once again ready to share his vision and inspire connection through artmaking. Join us in celebrating Smith’s work, and, in his own words, let the art bring you “somewhere miraculous within yourself – somewhere you may not have ever known existed.” 

Interview with Mark T Smith

The Third Act Interviews

Video Overview

The Inventory of Works

“Corpus” 40×60 Mixed Media on canvas  2020. (.1)

Horse Sculpture  / “Charisma” (.1)

“Horse production drawing /’Gratitude” 26 x 33 inches Graphite on watercolor paper , Framed size, 2008. (.4)

“Plan B in Color” Mixed Media 36×36 inches on stretched canvas 2010. (.2)

“Barca” / 36×48 Mixed Media on Canvas / 2023. (.2)

“Delaware Landscape”  24×36 inches on Paper, Mixed Media 2023 (.3)

“Diagram of the Charlatan” 45 x 55 inches Mixed Media on archival paper, 2009? (.1)

“Doggie Style Rave” 11×14 inches on Canvas, Mixed Media 2009 (.3)

TO PURCHASE WORKS: 

“Preexisting Condition” / 18 x 24 Remarque over Linoleum block print / Image size, 2025 (.5)

“Pyramid Boombox” 21 x 28.5 inches Mixed Media on paper, Framed size. 2025 (.3)

“Griffin and Key” 11 x 14 inches Mixed Media on canvas 2017. (.3)

“Covid” Mixed Media 30×40 inches on stretched canvas 2020 (.2)

“Political Landscape” 40 x 60 inches Mixed Media on Canvas, 2025. (.1)

“Watchdog” 30 x 48 inches Mixed Media on Canvas, 2025. (.2)

“Pyramids and other Monuments”  Mixed Media 30×40 inches on stretched canvas 2023. (.2)

“Foreshadow” Mixed Media 11×14 inches on stretched canvas 2023 (.3)

“Fidelity” 10×10 inches on stretched canvas 2006 (.3)

“UFO Tiger”  24×29 inches Mixed Media on paper 2021 (Framed) (.3)

“Suspense Part 2” Mixed Media 25×25 inches on wood 2020. (.3)

TO PURCHASE WORKS: 

“Sketchbook Page “Exile”  Mixed Media  8×11 inches on paper (.5)

“Sketchbook Page Blue Heart” 1 8×11 Ink on paper.

“Sketchbook Page Bullhead and Bull Figure” 12 x 16 Mixed Media on paper, Framed size, 2023. (.5)

“Sketchbook Page Red Castle 2”  17 x 21 Mixed Media on paper, Framed size, 2023. (.5)

“Sketchbook Page Blue Nude” 12 x 16 Mixed Media on paper, Framed size, 2023. (.5)

“Sketchbook Page Captains Call” 12 x 16 Mixed Media on paper, Framed size, 2023. (.5)

“Sketchbook Page Corpus Study” 14 x 19 inches  Ink on paper, Framed Size, 2023 (.5)

TO PURCHASE WORKS: 

“Sketchbook Page DC Landscape”  13 x 17 inches Mixed Media on paper, Framed Size,  2023(.5)

“Sketchbook Page “Figures” 13 x 17 Mixed Media on paper, Framed size, 2023. (.5)

“Sketchbook Page Pyramid Landscape” 13 x 17 inches Mixed Media on paper, Framed Size,  2023. (.5)

“Working Drawing for Suspense” 21 x 28 Graphite on Tracing paper, framed size, 2020. (.4)

“QuitER” 22 x 28 Mixed Media Remarque of a Linoelum block print, Framed Size, 2025. (.5)

“Brand X” 22 x 28 Mixed Media Remarque of a Linoelum block print, Framed Size, 2025. (.5)

“Drawing for Premonition”  22 x 28 Graphite on Tracing paper, Framed size, 2023 (.4)

“Tools of the Charlatan” 21 x 24 Graphite on paper, Framed size, 2008. (.4)

“Sketchbook Page ‘Untitled Nude” 13 x 17 inches Mixed Media on paper, Framed Size,  2023. (.5)

To purchase works from this exhibition, please click this link —->TO PURCHASE WORKS:  and/or reach out to Mills Gallery to finalize your purchase. All works are provided with a Certificate of Authenticity with the Bill of Sale. You can reach Mills gallery via email: millsgalleryorlando@gmail.com or call (855) 336-3653 – or stop by in person!!!!! Mills Gallery 1650 N Mills Ave, Orlando, FL 32803 USA

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Miami was the third city that I called home and a place where I spent a decade and a half. It was one of the most productive studio locations that I have had the pleasure of being located in during my lifetime. Just like New York City before, Miami will always hold a special place with me.

Interview in this month’s Voyage Miami. 

http://voyagemia.com/interview/meet-mark-t-smith-of-miami

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This duality lies at the heart of his artistic philosophy, shaping not just the finished pieces but also the experiences and breakthroughs along the way. For Smith, the act of creating art is as much about discovery as it is about intention, and his process reflects the dynamic interplay between structure and intuition.  

Pathway One: From Known to Unknown  

Smith’s first creative pathway begins with clarity. Whether it’s a commissioned work with specific parameters or a personal piece with a defined vision, this approach is rooted in premeditated intention. “This happens both in my personal work and in commissioned projects, where a specific outcome is often desired,” Smith explains.  The journey from known to unknown starts long before the brush touches the canvas. Smith begins in his sketchbook, developing ideas through multiple iterations. “The first thing I do is a bunch of drawings on inexpensive paper,” he says. These sketches are exploratory, serving as a visual brainstorming session where ideas are tried, tested, and refined.  But the process doesn’t end with the initial sketches. Smith often dives deeper, conducting research or reworking promising concepts. “I may go through several stages of development until the idea is refined to a level where it can be presented and understood by a lay person,’” he adds with a wry smile.  

Process Video: https://youtu.be/TiQQEqGO1lQ

For commissioned works, this stage is crucial. Sketches are presented to clients for approval, ensuring alignment on the vision before Smith transitions to the canvas. Yet this method is not exclusive to commissioned projects; Smith often uses it in his personal work as well.  “The main takeaway from this pathway is that I use the sketches to define the painting,” he explains. “It allows me to spend less time working through ideas in color and ensures I can meet deadlines without sacrificing quality.”  

Pathway Two: From Unknown to Known  

In stark contrast, Smith’s second pathway begins with ambiguity. Here, the canvas is blank, and the direction is unclear. “In this case, I’m going from the unknown into the known,” he says. “It’s about starting fully in the unknown and following what the painting tells me to paint next.”  This approach is rooted in surrender—letting go of conscious control and allowing intuition to take the lead. “I let my subconscious mind roam free and index that to my hand to create whatever comes out,” Smith explains.  The results are often surprising, even to him. “This method frequently leads to outcomes I could never have predicted,” he shares. “It often results in breakthroughs—whether in technique, material use, or conceptual exploration.”  Smith finds this pathway particularly useful when he feels creatively stuck or wants to push his boundaries. “These are the paintings that often become the genuine breakthroughs in my career,” he notes. “They represent an opportunity to explore new ways of expressing myself.”  

The Interplay Between Pathways  

While these two pathways might seem like opposing forces, Smith sees them as complementary. “Neither pathway is mutually exclusive,” he says. “I often toggle back and forth between them, especially when I’m stuck or want to refine a specific area of a painting or sharpen a communication.”  This toggling allows Smith to engage both his conscious and subconscious mind, creating a dynamic process that balances deliberate intention with unbridled exploration. “It’s a way to keep the work fresh and to challenge myself,” he adds.  For Smith, the ability to move between these pathways is a key aspect of his artistic identity. “It allows me to approach each piece with a sense of curiosity and adaptability,” he explains. “And that’s where the magic happens—when structure and spontaneity meet.”  

The Mechanics of a Creative Life  

Beyond his conceptual frameworks, Smith’s daily practice is a testament to the discipline required to sustain a creative life. He spends anywhere from 4 to 8 hours in the studio each day, and sometimes as many as 12 when deadlines approach. This time isn’t limited to painting. Smith also dedicates significant energy to drawing, researching, and thinking—activities he views as integral to his process. “Maintaining a steady and robust practice is the only way to remain in the zone,” he asserts.  For Smith, the studio is more than a workspace; it’s a laboratory for growth. “My studio practice is a way for me to evaluate my personal and artistic development,” he explains. “Each piece becomes an artifact that I can measure against others, charting my evolution as an artist.”  

A Masterpiece in Progress  

One of Smith’s recent works offers a window into the depth of his process. The piece, a 30 x 48-inch canvas stretched on 2-inch bars, was initiated on June 10, 2024, and “completed” on November 11, 2024.  The work incorporates nearly every material in Smith’s artistic arsenal—pastels, charcoal, spray paint, acrylics, paint pens, house paint, metallics, graphite, and even scratching and etching techniques. “I use everything except for oil paint, though I do include oil bars,” he notes.  The result is a vivid tapestry of color and texture, a visual narrative that exemplifies the interplay between Smith’s two pathways. “This piece represents both the structure of the known and the spontaneity of the unknown,” he explains.  

The Joy of Artistic Discovery  

For Smith, the act of creating art is more than a profession; it’s a way of life. “It’s a beautiful and wonderful thing to be able to live as an artist and to explore your inner creativity,” he reflects.  This sentiment underscores everything he does, from the meticulous sketches that guide his commissioned works to the freeform experiments that fuel his breakthroughs. For Smith, the journey is as important as the destination, and each painting is a testament to the joy of discovery.  

https://youtu.be/TiQQEqGO1lQ?si=uElKWjbf4MEhwCs3

Expanding Horizons  

Smith’s dual-pathway approach is not just a creative strategy—it’s a philosophy that informs every aspect of his work. By embracing both intention and intuition, he has created a body of work that is as diverse as it is cohesive.  This philosophy extends beyond the canvas. Smith is constantly seeking new ways to expand his horizons, whether through collaborations, exhibitions, or explorations of new materials and techniques. “The key is to keep pushing forward,” he says. “To never stop learning and growing as an artist.”  Through his dual pathways, Smith has carved out a space where structure meets serendipity, resulting in art that is both technically masterful and emotionally resonant.  

*Explore Mark T Smith’s latest works and learn more about his artistic journey at [www.marktsmith.com](https://www.marktsmith.com).*  

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Mark T Smith, renowned for his vibrant, energetic, and visually captivating art, is taking a fresh turn with his latest series of remarques. Known for infusing his work with dynamic compositions and rich storytelling, Smith has always pushed the boundaries of art, blending traditional techniques with modern sensibilities. His new series of remarques is a testament to this artistic journey, combining the classic linoleum block print with his signature pop art style. 

 A History of Remarques

For those unfamiliar with the term, a “remarque” is a small, original drawing or print that an artist adds to a print, adding a unique touch to each piece. Over his career, Mark T Smith has created many remarques, enhancing the value and distinctiveness of his limited edition prints. These intricate additions allow collectors to own a piece that feels truly one-of-a-kind, a hallmark of Smith’s commitment to personalization in his art.

Linoleum block printing is a relief printmaking technique that dates back to the early 20th century. Smith’s use of this method pays homage to the artistic traditions that have influenced his work over the years, while simultaneously breathing new life into the medium. Each piece in this series showcases his careful craftsmanship, with intricate designs that are then elevated by his modern, pop-inspired flourishes. Mark T Smith’s work with linoleum block prints echoes the artistic journey of many great artists who elevated this medium’s status. Notably, Pablo Picasso explored linoleum block printing extensively in the 1950s, transforming this humble technique into a powerful form of artistic expression. Picasso’s series of linocuts—often characterized by their bold, graphic compositions—demonstrated how the technique could convey both simplicity and depth, capturing a wide range of subjects with precision.

While Picasso’s approach focused on the simplicity and abstraction of forms, Mark T Smith takes the medium a step further, using it as a foundation for his signature pop art style. Where Picasso utilized the technique to distill figures and scenes into their most essential forms, Smith uses it as a springboard for dynamic compositions that burst with color and energy. His prints retain the craftsmanship of traditional relief printing but are imbued with the vibrant flair of contemporary art.

Both artists have played a role in elevating linoleum block printing from a craft-based technique to a respected art form, capable of creating complex and layered works. However, while Picasso sought to reinvent the method with minimalistic expression, Smith’s new series embraces a more maximalist approach—filling each piece with lively patterns and a kaleidoscope of hues. This contrast in styles highlights the versatility of the medium and showcases how different eras of artists have found new ways to push its boundaries.

Collectors will appreciate the depth and complexity in each piece. The combination of traditional printmaking with Smith’s contemporary style makes for artwork that is rich with narrative, paying tribute to the past while firmly rooted in the present. Mark T Smith’s new series of remarques is a celebration of artistic evolution, where classic techniques meet modern expression. This series is perfect for collectors who appreciate the fusion of old-world craftsmanship with the bold energy of contemporary art. Each piece is a reminder of Smith’s artistic journey, offering a unique opportunity to own a part of his legacy. As Smith continues to innovate and explore new artistic territories, this latest series of remarques serves as a beautiful example of his versatility and vision. Don’t miss the chance to add one of these stunning pieces to your collection.

For more information about Mark T Smith and his work, visit [www.marktsmith.com]

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The Signature Style of Mark T Smith

Mark T Smith’s journey is marked by a style that marries abstract expressionism with pop culture. His bold colors and intricate patterns create a visual feast that is both chaotic and harmonious. Smith’s works often incorporate themes of music, nature, war and human experience, rendered through a kaleidoscope of shapes and hues. This fusion results in a sensory experience inviting viewers to explore every inch of the canvas. His works are visceral, with a master’s control of the chosen media.

New Beginnings: A Fresh Perspective

In his recent works, Smith demonstrates an evolution in his artistic narrative. While maintaining the vibrant energy of his earlier pieces, there’s a shift towards more introspective and nuanced themes. His latest artworks reflect deeper engagement with the human condition, transformation, and resilience.

One standout piece from this new collection is “Corpus,” a large-scale painting encapsulating hope and renewal. The tapestry of swirling colors and intricate details draws the viewer into a dreamlike state. The interplay of light and shadow, combined with the fluidity of form, creates a mesmerizing sense of movement and depth. This piece explores the frailty of the human condition.

Smith’s new works highlight his mastery of traditional techniques, a hallmark of his 25 years of dedicated practice. Every brushstroke, every detail, testifies to his dedication. His commitment to 100% traditional methods ensures his art retains a sense of authenticity and immediacy often lost in digital works.

The tactile quality of Smith’s work is evident in pieces like “Barca.” Here, layered textures and rich, vibrant colors create a palpable sense of depth and dimension. The physicality of the paint, applied with both precision and spontaneity, invites viewers to experience the artwork not just visually, but almost tactilely. One can almost smell the charcoal strokes on the canvas.

A Celebration of the Human Spirit

At the heart of Smith’s new works is a celebration of the human condition, aging, and loss. His paintings are imbued with optimism and resilience, reflecting human triumphs and trials. Through his art, Smith invites viewers on a journey of self-discovery and introspection.

“Pyramids and other Monuments” exemplifies this thematic focus. The painting features a complex interplay of abstract forms, typography, and vibrant colors, symbolizing the interconnectedness of humanity. As Mark T Smith continues to push the boundaries of his craft, his new works testify to his enduring passion and creativity. His ability to explore deeply personal themes, coupled with his dedication to traditional techniques, ensures his art remains relevant and impactful.

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Art enthusiasts and collectors eagerly anticipate Smith’s future creations. His work enriches the contemporary art scene and offers a window into the soul of an artist who dares to dream and inspire.

Painting details in order of appearance:

1.”Trillions” 30×40 inches Mixed Media on stretched canvas 2024

2. “Corpus” 40×60 inches Mixed Media on stretched canvas 2022

3. “Barca” 36×40 inches Mixed Media on stretched canvas 2023

4. “Foreshadow”16×20 inches Mixed Media on stretched canvas 2023

5. “Pride Boombox” 18×24 inches Mixed Media on stretched canvas 2024

6. “The Factory of the Self” 30×40 inches Mixed Media on stretched canvas 2024

7. “Pyramids and other Monuments” 30×40 inches Mixed Media on stretched canvas 2024

8. “Half-Life” 40×60 inches Mixed Media on stretched canvas 2022

9. “Suspicion” / 24×25 inches /  Mixed media on wood / 2023

10. “Delaware Landscape” / 24×32 inches / Framed Size /   Mixed media on paper / 2023

11. “Covid” / 30×40 inches /  Mixed media on stretched canvas / 2020

12. “UFO Tiger” / 24×27 inches /  Mixed media on paper / 2020

13. “Badluck Exile” / 18x22inches /  Mixed media on paper / 2020

14. “Shipwreck” 30×40 inches /  Mixed media on stretched canvas / 2022

15.“Mexican Landscape” / 40×60 inches /  Mixed media on stretched canvas / 2020

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Harmony of Humanity and Progress: Valley Bank’s Guiding Hands”

The focal point of the mural’s composition is a large hand that is floating over an urban landscape. The hand is supported by four pillars, and there is a yellow triangle on the palm of the hand representing the logo treatment for Valley Bank. The hand is the metaphor for relationships/humanity. There’s also a seed on the palm of the hand, which radiates a creative energy into the larger composition. 

The hand is supported by a ring and pillars which is meant to mimic an element of floating classical architecture. This represents solidity, and structure and removes it from the mural timeline to a degree – this lives outside time. On the extreme right side of the composition, the ring/classical structure that supports the hand is growing a natural element/tree both to show support for environmental concerns, but also to show the maturation of the seed into this strong tree / natural element. This is in contrast to the cityscape and maze in other parts of the composition. There are multiple versions with varying emphasis this part of the narrative. There are some versions of the sketch where the tree is made in part from the pillars and there is the sketch that only features this as the entire composition. 

The hand is supporting the growth of the seed over a maze of complexity below it. Across the full composition in the mid-ground and background, the complexity of the maze morphs into and out of a cityscape. It starts as simple graphic elements on the left, then forms into a maze, into a cityscape, back to a maze and back to simplification again on the extreme right as a line drawing of Morristown’s most recognizable visual features / small town. This represents the physical environment of the customers of the bank, and also the journey that commercial entities go through, and the maze of roadblocks that Valley Bank can assist them in avoiding along the way. There are other industrial components to the design; including container ship on the horizon, commercial aircraft flying over a bridge and highways, Rivers, roads, walkways, factories, manufacturing, office buildings etc. Overall, it creates the entire ecosystem that the customers of Valley Bank are operating in with Valley Bank continually guiding the way forward. There are small ladders between the layers in the sketch, these represent upward pathways or mobility. 

Also, across the composition, moving from left to right, there are eight hands – these represent the assistance the Valley Bank customers receive from the eight identity roles in relationship banking. Each of these hands is present at a juncture in the growth or transformation of the scene. There are also 8 yellow triangles across the composition and in one of the alternate compositions, there are 8 pillars. I think that the repetition of this enhances the brand messaging with a visual context. 

You can find additional information about his commission here: https://www.youtube.com/watch?v=ovGJ4Yg-ZEo&ab_channel=ValleyBank and https://www.valley.com/artworksofambition

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The works were selected by Curator Carolina Caceres from the works available in Miami, This will be the artist’s first exhibition in Mexico and the very first exhibition of the selected works from his sketchbooks. There is a special significance to the exhibition of preliminary works, many years ago, in the earliest stages of his carer, the artist did not keep all the drawings and preliminary works that lead to the creation of the large works on canvas. It was Carolina that saved those first drawings on visits to the studio that led the artist to consider these preliminary works in a different light, seeing them as works of art in their own right.

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