

In this tall lobby, enormous glass canoes hang like chandeliers— an homage yet again, this time to the Salish tribes of Puget Sound. They appear distant in my painting only because they are. I set up my easel on the third story of a four story atrium, looking down the long hall toward the ballroom. We see the canoes lengthwise, so in the painting, alas, they look like hanging vases.
The nearer chandelier is a magnificent tangle of reflective
glass from the isle of Murano itself, and the largest that glass artist has
ever made. Another hanging feature— for one night only— is a trapeze artist in
the stairwell, serving champagne to the guests.

This labyrinth of architecture was a challenge to paint, and
per usual, I bent the perspective to include all that I could see. At charity
auctions, I always paint the buyer of the painting into the foreground, and we
see him here approaching as if he’d just come off the elevators (unseen, to the
right.)