An instructor will lead you step-by-step through a unique painting. Choose from a variety of canvas sizes that will fit perfectly in a special space in your home. All paintings can be customized with your choice of colors and personalized details. Bring some wine, or your drink of choice , food and friends and enjoy a night of care free creating!
Private Wine & Canvas Events include:
ALL of the above PLUS .
*Private Studio Rental
*Personal Art Teacher for Private event
*Custom Designed Painting, or YOUR choice of painting for your group
*Custom size Canvases and all guests choose custom colors for their painting
$40 per painter unless otherwise noted
$47 per painter for Private In Studio Events
$45 Virtual Art Parties, we have a $25 flat fee for Zoom link and Art Kits for each person. Art Kits are $45 each
(6 minimum for private studio rental) email for more information at [email protected]
*We include a free zoom link and create an art kit (same price as group) for any participants who would like to virtually participate in any of the Open Events OR Private Events in studio. Nobody needs to be left out! 🙂
Unique canvas painting session mason
AAS: Mason, where did you grow up?
MH: I was born in Birmingham, Alabama, but most of my childhood was spent in Guntersville, Alabama, a lake-town in the northeast part of the state. Guntersville is a picturesque location with its beautiful lake and surrounding mountains.
After completing high school, I chose an education path that some might overlook: a two-year community college followed by a four-year institution. This experience made me a staunch advocate for community colleges.
During my academic journey, I pursued a passion for art, earning both my Associate and Bachelor of Fine Arts degrees. However, my practical education in the arts began early when I landed a job as administrative assistant for a local nonprofit art gallery known as MVAC right after high school. Little did I know that this position would quickly evolve, and within nine months, I was promoted to Executive Director, responsible for overseeing all daily operations of the organization.
As I finished my BFA, I decided to take a different path and started teaching art in a public elementary school. The pandemic brought uncertainty to all of our lives, prompting me to reassess my career aspirations. It became clear that my true passion lay back in art curation, and I yearned to return to that world.
I found myself irresistibly drawn to Northwest Arkansas and the region’s vibrant economy and unwavering dedication to the arts. As I delved deeper into the area through personal connections and the widespread acclaim it had garnered on a national level, I quickly became aware of its thriving artistic community.
AAS: What do you think it was about your childhood that nurtured what would become your desire to promote art in the communities you have lived in?
MH: Growing up as the middle son in a family of athletes, with my older brother coaching high school football and my younger brother excelling in college golf, sports seemed to surround me. Despite my towering 6-foot-7-inch frame, which often drew attention, my heart always gravitated towards art, thanks in no small part to the unwavering support of my parents.
My mother, a dedicated teacher in her own right, played a pivotal role in nurturing my artistic pursuits. From the early days of crayon doodles to the more refined works I create now, she has been my constant and most valuable critic. Her constructive feedback has helped me refine my skills and evolve as an artist. I’m grateful for her guiding voice that continues to push me towards excellence. My father, too, had a profound impact on shaping my artistic journey. He instilled in me the idea of always striving to be the best at what I do, no matter the field. While he might not have been an artist himself, his belief in the power of dedication and determination fueled my drive to improve constantly.
While sports didn’t capture my passion, I did discover a love for drawing fueled by my desire for competition. This drive intensified when I had a remarkable high school art teacher with an impressive track record of student awards. Her advanced art class regularly excelled in congressional and statewide competitions, garnering public praise and essential funding for the arts. My art teacher imparted a crucial lesson that has stayed with me ever since: just as Michelangelo’s brushes were essential for creating the Sistine Chapel ceiling, art relies heavily on community support. The funding that paid for his brushes came from both public and private sources, underscoring the importance of community in nurturing and sustaining the visual delights humans have grown fond of.
AAS: What was it about teaching art to elementary school children that you enjoyed?
MH: Teaching art to elementary school children was an immensely rewarding experience for me on multiple levels. One of the most fulfilling aspects of this role was witnessing how much children yearned to express themselves. I discovered that children not only craved to communicate but also desired to be heard and understood. So, I always fostered an environment in my class that encouraged constructive conversations. I firmly believe that allowing children to express themselves freely is crucial at a young age as it nurtures their creativity, confidence, and emotional development.
Art education touches every aspect of human life, a fact that often goes unnoticed by both adults and children. I made sure to enlighten my students about the profound influence of art and design in our daily lives. On the first day of class, I shared an interesting anecdote with them, illustrating how even something as simple as their favorite fast-food item, the Happy Meal, was the creation of talented artists. I would then follow up by mentioning the video games they loved, demonstrating how an entire team of artists worked behind the scenes to bring those virtual worlds to life. I think this approach instilled in them a deeper appreciation for art’s omnipresence and its impact on shaping the things they enjoyed.
One memorable art lesson that left a lasting impression on both me and my students involved watercolors and self-portraits. I provided my young artists with small mirrors and asked them to paint their self-portraits. Witnessing their fascination with scrutinizing their own features and translating them onto paper was a joy to behold. One particular student, a very special kid, painted an endearing portrait of “Mr. H,” which I still have. These kinds of experiences further reinforced the significance of art in allowing children to express their individuality, emotions, and unique perspectives. It was also, just really, really funny.
AAS: Much of your work is about symbolism and hands have long been a symbol of quiet communication. Why do you think you find hands so fascinating?
MH: I very much like that phrase – “quiet communication.” It encapsulates the essence of my work, especially in my series What Cancer Takes. This transformative journey began when I immersed myself in the creation of a series of watercolor paintings centered around my grandmother’s hands. Through this process, I came to realize the profound significance of hands. Hands possess the unique ability to convey a myriad of emotions, allowing for a powerful emotional connection with audiences, who can easily relate and empathize with the stories these hands tell.
Initially, I struggled to define a distinct visual style and a cohesive conceptual focus due to my inherently bookish and daydreaming nature. However, as I delved deeper into the exploration of hands as a symbol, I found them to be a perfect metaphor for the human experience of struggle, resilience, and triumph. Unlike faces, which may have specific cultural or individual associations, hands have a universal quality that allows for a broader range of empathy and understanding. They serve as a window into the essence of a person, revealing their trials and tribulations to any observer.
I place great importance on the visual impact of my art. However, I firmly believe that each piece must also carry a conceptual thesis, a powerful idea or message that serves as a catalyst for dialogue. By using hands as a focal point, I can facilitate a wide spectrum of discussions, spanning from profound societal issues to the intimate subtleties of human connection.
AAS: Tell me about Flight and more about your What Cancer Takes series.
MH: Flight and the series What Cancer Takes hold a deep emotional significance for me as they both revolve around capturing the poignant moments of my grandmother’s battle with cancer. What Cancer Takes is a collection of emotionally charged watercolor paintings that portray the final stages of my grandmother’s life. Each painting in the series represents a specific snapshot of her journey, depicting the profound impact of cancer on her physical and emotional well-being.
Flight specifically delves into cancer’s toll on her ability to move. The artwork in this series explores the cruelty of the disease as it progressively limited her mobility. Through evocative brushstrokes and the black crow feathers, I aimed to depict the struggles she faced while trying to retain her independence and freedom of movement, which were slowly slipping away.
AAS: Body is another moving representation of your grandmother, but does it also echo your feelings about her individual struggle?
MH: You’re right, it does. My painting Body delves into the profound cruelty of losing one’s body to a disease as far-reaching as cancer. My grandmother, a proud and devout Baptist woman, was not only concerned about what The Lord thought of her but also highly conscious of the opinions of her peers within the close-knit community. As she battled cancer, it became a struggle between her desire to maintain a strong facade of silent dignity and the inevitable reality of her deteriorating health.
Towards the end of her life, some of the very same church members who were once part of her social circle were caught gawking at her vulnerable state while she lay in a nursing home bed, dying from brain cancer. This juxtaposition of public scrutiny and personal vulnerability deeply impacted me.
While my grandmother would have preferred a silent and concealed mourning, I found myself compelled to confront the reality of death’s ugliness. Body is a raw expression of my refusal to become apathetic to the harshness of death and the toll it takes on individuals and their loved ones. It reflects the complex emotions I experienced during her battle, acknowledging the struggle between preserving “the self” and facing the stark truth.
AAS: You’ve done several series of beautiful and poignant, portraits, really, of hands. Tell me first about Spiral and your Neon Dreams series.
MH: In my latest series of paintings, titled Neon Dreams, I sought to capture the essence of visual storytelling by using light as a catalyst. The painting you mentioned, Spiral, encapsulates the emotions and experiences I underwent after moving to a place far away from everything and everyone I knew. The tumultuous process of relocating took a toll on me emotionally, and Spiral captures a snapshot of my life during that period, where I found myself yearning for a moment of stillness amidst the chaos.
The visual elements within Spiral are like a metaphor for the vicissitudes of life. I incorporated a range of contrasts, depicting the interplay between hot and freezing, black and white, and all manners of grey in between. These contrasts mirror the complexities and fluctuations of life’s journey, where we encounter highs and lows, moments of clarity and confusion, and the intermingling of emotions that paint our experiences.
While my paintings hold deep personal significance for me, I want viewers to connect with them on their own terms. Each piece in the Neon Dreams series, including Spiral, is an invitation for the audience to explore their emotions and experiences through the visual narratives I craft. It is my hope that these paintings can resonate with viewers in diverse and meaningful ways, transcending the confines of my personal journey and inviting others to reflect on their own.
AAS: You’ve carried the idea of tactile sensations even further with your paintings on velvet in Dispositions. Tell me about Embrace. I think the texture of the velvet is such an important artistic element of the overall painting.
MH: I love velvet. I guess we can start there. Its texture and warmth have always drawn me in. There is something intrinsically old-world about velvet, and when I work with it, I feel connected to its rich history. In fact, the tradition of velvet painting can be traced back to ancient Cashmere, where skilled artisans used it as a surface to create stunning masterpieces. It’s incredible how art has evolved, and now we have this more modern take on the art form, with black-velvet oil painters gaining prominence particularly in Mexico and Latin America in the mid-twentieth century. For me, painting on velvet is a way to take the viewer on a multi-sensory journey. The velvety surface adds another dimension to the artwork, enticing the audience not just visually but also haptically.
Coming back to Dispositions, it’s a series that delves into the intricacies of relationships, breaking down one connection into four momentary dynamics. Embrace, which you’ve mentioned, offers a glimpse into one of those important moments. The velvet canvas played a pivotal role in capturing the essence of Embrace. It allowed me to create an interplay of light and shadow, making the figures on the canvas seemingly emerge out of midnight. Working with velvet does demand some special techniques. Its plush surface requires a slightly different approach compared to traditional canvases. The texture demands a more delicate touch when applying the paint, allowing it to meld and blend in a unique way.
AAS: I also like your Light Visions series where you explore light, shadow, and mood. Nevers is one of my favorites from that series. Tell me about it.
MH: In the series Light Visions, I ventured beyond the realm of hands as a subject matter and delved into the realm of composed portraiture. Nevers was born during a tumultuous period in my life, like many others in the series. It served as a form of catharsis and self-expression, inspired by a revelatory moment amidst the chaos of turbulent relationships.
During a poignant night, engrossed in a phone conversation with a dear friend, the mesmerizing moonlight gently streamed through my window blinds. In that profound moment, external noise faded, and a deep sensation of revelation washed over me. Bathed in an ethereal lunar glow, as I caught a glimpse of myself in the mirror, the light seemed to illuminate not only my physical features but also the essence of my being. It felt liberating, transcending the struggles burdening me at the time. Intrigued by this experience, I embarked on painting figures in moments of self-definition, expressed through luminosity.
Nevers stands out within the series Light Visions as one of the more imposing portraits. Her eyes reflect a determined ire, a fierce determination that emerged from the harshness of those tumultuous moments in my life. The play of light and shadow in the painting symbolizes the complexities of emotions I experienced, and through art, I channeled those feelings into a tangible form.
As for the series as a whole, Light Visions bears witness to the profound impact that moments of personal turbulence can have on one’s creative identity. Each piece takes viewers on a visual journey into my inner world, capturing the interplay of light and darkness and how they shape my perception of tomorrow.
Far, 14” x 11”, oil on panel
Maybes, 14” x 11”, oil on panel
No, 14” x 11”, oil on panel
AAS: You have been incorporating Augmented Reality into your exhibitions. Is that area you plan to experiment more in?
MH: My fascination with incorporating Augmented Reality into my paintings began during my studies for my BFA. The concept of creating artworks that could transform and come to life when viewed through a device’s camera truly intrigued me. This led to the inception of a series titled Dichotomy, where I depicted two southern icons, the Houston Cole Library and the City Federal buildings, initially isolated from their surroundings. The process unfolded when these paintings were viewed through a phone or tablet’s camera, revealing the environments that were integral to shaping the essence of these buildings. It was a captivating experience for both the artist and the observer, as the digital and physical realms blended seamlessly.
While technology undoubtedly offers exciting possibilities, I hope that societies will rediscover a longing for the authenticity and essence of creations made by skilled artisans. As an artist and designer, I see myself playing a role in preserving the essence of human touch in my works, balancing the allure of technology with the depth of craftsmanship.
AAS: Mason, what are the latest happenings at Art Ventures NWA and what are your responsibilities as a curator there?
Celebrate COVID style with your favorite group of people. Don’t let your Bachelorette miss her party- we will organize the party- supplies for the Art Kit, and lead your group through a directed painting or pottery piece via private Zoom link.
In our studio or in your home- Come enjoy good company, a creative environment, and a glass of wine or beverage of your choice. Our Wine and Art Parties are perfect for girl’s night out, family night, couple’s night, bachelorette party, or just a fun date to enjoy something new! We will teach you how to break down works of art into simple steps, in a welcoming and fun space. Throw away your inhibitions about not being creative, and join in the fun! All Wine and Art Events are led by a certified teacher/professional artist. In Studio, W e provide a large selection of bisque projects to choose from, a variety of custom sized canvases, easels, aprons, all paint/glaze, brushes and materials.
Thursday, January 21 7:30-9:30 Deer Silhouette
Saturday, February 6 5:30-7:00 Wine Glasses Painting 2 glasses included ($15 additional)
Monday, Feb. 22 7:00-9:00 Winter Trees
Wednesday, March 3 7:00-9:00 Shamrock Painting
Spring Paintings:
~Feather
~Mason Jar with yellow flowers
~Humming Bird
Art as an escape
Mason continued to pursue both his athletic and artistic talents following his time at OSU. In 2000, he was drafted by the Seattle Supersonics and began a decade-long career in the National Basketball Association.
Throughout his time in the league, Mason always continued his pursuit of one day becoming a professional artist. He embraced painting and drawing as an escape from his grueling schedule of playing basketball at the highest level, including taking his portfolios on the road with him.
“It was my release,” Mason said. “It was my getaway. I knew I wanted it to be something that I was going to do after sports.”
His first big art show came when he was playing for the Milwaukee Bucks. Curious about his talent and his future at the craft, Mason invited an art critic from the Chicago Tribune to attend the show. Waiting for the review was nerve-wracking for Mason, but it ended up giving him the encouragement he needed.
“He gave me a positive review, and he was a really hard critic,” Mason said. “From then on, I was really confident in my work.”
That work has continued to expand as Mason explores different mediums to push his limits. Most recently, his art has taken a new form that’s sought after by an entirely new generation of Cowboy fans.
Building a brand
Since his early success in Milwaukee, Mason has built a following for both his artwork and his apparel design. One distinct takeaway from his paintings is the bright colors he uses throughout. Many of Mason’s early pieces were done in charcoal or pencil, but his work has evolved into explosions of color.
“If I have a choice, my stuff will always be colorful,” Mason said. “Everyone who has purchased my work loves the fact there is so much color. Whenever you want to make a wall pop, that’s what you do.”
Fans of his art have also followed Mason into the apparel scene through his partnership with 47 Brand, a door that was opened by Mason’s former OSU teammate Scott Pierce. Over the past two years, Mason has created OSU-branded hats and shirts for the company. This year, 47 Brand and Mason will be releasing more items, including beanies, socks and more.
“I knew if he was given the opportunity, Desmond would give us something unique and new,” Pierce said. “It was no surprise to me that he was able to make a really cool design.”
Mason hopes to build his brand internationally over the coming years, including shows abroad in Mexico, India, Abu Dhabi and elsewhere. He also hopes to explore an interest in photography he has developed over the years.
“I’ve always been very passionate about photography,” Mason said. “I have so many pictures. I just haven’t pulled the trigger on a show yet. I just want to grow. Constant growth.”
“Get all that stuff you have going on inside of you out. Sometimes we don’t have anybody to talk to. Trust me, canvas and paper listen very well.”
– Desmond Mason
Encouraging expression
As Mason continues to expand his art career, he is also focused on making sure his children and other kids embrace their artistic side.
“It’s all about supporting your children and allowing them to do whatever it is that they want to do,” Mason said. “I think the biggest thing from an adult standpoint is to support the kids.”
As art is continually pulled from the curriculum in public schools, Mason believes it’s important to promote the idea of pursuing the creative arts professionally.
“It’s important to get them to understand there is a way to be successful long term creatively,” Mason said. “It is a job, and it can be a great occupation. You can do some really cool things.”
Mason wants everyone to recognize we are surrounded by art if we just know how to look for it. This includes going back to his foundation as a basketball player. He even challenged former NBA Commissioner David Stern to find something that wasn’t formed by a creative mind in the NBA game.
“The jerseys are designed. The floors are designed. The buildings are architecture. The music, the lighting, the game within itself. It’s all drawn before it’s put together,” Mason said.
Even if they don’t end up with a career in the arts, Mason wants everyone to able to use it as an outlet. Drawing from his own experience, he wants children and adults to use painting, drawing, sketching and more as therapy to get their emotions out on the page.
“Just express yourself, whatever that looks like,” Mason said. “Get all of that stuff you have going on inside of you out. Sometimes we don’t have anybody to talk to. Trust me, canvas and paper listen very well.”
