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timnavis
NAVIS
Abstract painter // Los Angeles
Manuscript I. Textile dye + Black India Ink on canvas. 30”x40”. This is about the progress I’ve made in my mark making technique. There’s a lot that I love about this piece. The red-orange is juicy, but very matte. In my newsletter, I wrote about where my punchy, bold color palette comes from and how that affects the colors I choose. Link in bio if you’re interested in deep dives into my work.
There’s so much more art that I want to create and I’m constantly inspired by other’s work. It’s funny, my work isn’t the work I really want to make, but it’s the work I have to make.
Manuscript I. Textile dye + Black India Ink on canvas. 30”x40”. This is about the progress I’ve made in my mark making technique. There’s a lot that I love about this piece. The red-orange is juicy, but very matte. In my newsletter, I wrote about where my punchy, bold color palette comes from and how that affects the colors I choose. Link in bio if you’re interested in deep dives into my work.
There’s so much more art that I want to create and I’m constantly inspired by other’s work. It’s funny, my work isn’t the work I really want to make, but it’s the work I have to make.
Manuscript I. Textile dye + Black India Ink on canvas. 30”x40”. This is about the progress I’ve made in my mark making technique. There’s a lot that I love about this piece. The red-orange is juicy, but very matte. In my newsletter, I wrote about where my punchy, bold color palette comes from and how that affects the colors I choose. Link in bio if you’re interested in deep dives into my work.
There’s so much more art that I want to create and I’m constantly inspired by other’s work. It’s funny, my work isn’t the work I really want to make, but it’s the work I have to make.
Manuscript I. Textile dye + Black India Ink on canvas. 30”x40”. This is about the progress I’ve made in my mark making technique. There’s a lot that I love about this piece. The red-orange is juicy, but very matte. In my newsletter, I wrote about where my punchy, bold color palette comes from and how that affects the colors I choose. Link in bio if you’re interested in deep dives into my work.
There’s so much more art that I want to create and I’m constantly inspired by other’s work. It’s funny, my work isn’t the work I really want to make, but it’s the work I have to make.
Manuscript I. Textile dye + Black India Ink on canvas. 30”x40”. This is about the progress I’ve made in my mark making technique. There’s a lot that I love about this piece. The red-orange is juicy, but very matte. In my newsletter, I wrote about where my punchy, bold color palette comes from and how that affects the colors I choose. Link in bio if you’re interested in deep dives into my work.
There’s so much more art that I want to create and I’m constantly inspired by other’s work. It’s funny, my work isn’t the work I really want to make, but it’s the work I have to make.
Manuscript I. Textile dye + Black India Ink on canvas. 30”x40”. This is about the progress I’ve made in my mark making technique. There’s a lot that I love about this piece. The red-orange is juicy, but very matte. In my newsletter, I wrote about where my punchy, bold color palette comes from and how that affects the colors I choose. Link in bio if you’re interested in deep dives into my work.
There’s so much more art that I want to create and I’m constantly inspired by other’s work. It’s funny, my work isn’t the work I really want to make, but it’s the work I have to make.
Manuscript I. Textile dye + Black India Ink on canvas. 30”x40”. This is about the progress I’ve made in my mark making technique. There’s a lot that I love about this piece. The red-orange is juicy, but very matte. In my newsletter, I wrote about where my punchy, bold color palette comes from and how that affects the colors I choose. Link in bio if you’re interested in deep dives into my work.
There’s so much more art that I want to create and I’m constantly inspired by other’s work. It’s funny, my work isn’t the work I really want to make, but it’s the work I have to make.
Black dyed canvas and acrylic. 9”x12”. Another small color study that I’d like to apply to a larger piece someday.
Manos II.A few years back, I took a tintype portrait of my dad’s hands and it’s one of my favorite tintypes. These hands belong to my friend @rachaelferris who is an exquisite miniaturist and builder (check her work out). The tintype process does not lie or hide flaws and I love the way hands can tell as much about a person as a face can.One of my favorite things about this image is the softness of the wrists and other places that fall out of focus.
Manos II.A few years back, I took a tintype portrait of my dad’s hands and it’s one of my favorite tintypes. These hands belong to my friend @rachaelferris who is an exquisite miniaturist and builder (check her work out). The tintype process does not lie or hide flaws and I love the way hands can tell as much about a person as a face can.One of my favorite things about this image is the softness of the wrists and other places that fall out of focus.
Red Study #3 is a great example showing how Japanese calligraphy and wild style graffiti has had a tremendous influence on my art. This 11”x14” original is currently available. Slide into my DM’s for more information about acquiring this piece.
Here’s the process of how I make my ethereal textures. It’s basically making a tintype with an extra step or twothat I will never reveal.
Another Time. 2026.Silver nitrate on aluminum. Digitally composed. Last three frames to show detail.
Another Time. 2026.Silver nitrate on aluminum. Digitally composed. Last three frames to show detail.
Another Time. 2026.Silver nitrate on aluminum. Digitally composed. Last three frames to show detail.
Another Time. 2026.Silver nitrate on aluminum. Digitally composed. Last three frames to show detail.
24”x18” study. Acrylic + Ink on canvas. I made this piece a few years ago and felt like it deserved a little promo reel. I made this one slightly different from how I usually make my strokes and haven’t had any luck trying to use the same technique. Truly a one of a kind.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
Tiger Balm. 2025. 30”x40”. Ink + Dye.
Graffiti has been hugely influential in my work since I started painting in 2004. Living in Los Angeles has exposed me to some of the most beautiful and expressive graffiti lettering and street art out there. My style is a reflection of that expressive, abstract look of graffiti. Tiger Balm is a great example of the influences LA has had on me. The raw, dyed canvas look is a nod to the importance and impact that nature has in LA.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
The End Will Always Find You. 2026. 30”x40”. Acrylic + Ink on canvas.
Getting older is strange. The weight of my own mortality hits different these days. I don’t know when nor do I know how, but the end will inevitably find its way to me and I’ll never be fully prepared for it. This painting serves as a reminder to get out and live while I still have time and my health.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
Things I’ve made lately and my obsession with textures. I often remember places by textures too. Cement, wood, paper, raw canvas, leather, etc… can stir up specific feelings or memories for me that influence my work. Thanks for tuning in.
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