Interior Designers and Decorators

My paintings would add interest and color to any room, would be a valuable resource for interior designers.

I welcome inquiries from interior designers and decorators, and will be glad to work out a price and commission schedule that compensates us both fairly.

If your clients are interested in decorating with abstract art, but they need something with a size or color scheme different than the paintings on the site, I would be happy to discuss it with you and try to come up with a custom solution.

My goal is to make the purchase of one of my paintings as easy and pleasant of an experience as possible, whether you are purchasing one already completed, or a custom project.

Please fell free to contact at any time.

Mike Henderson

"Three Figures" - A Triptych

This group of three paintings, which I expect to be kept together as a triptych (although not totally necessary) are my most recent completed works. They seem to be astronomical figures, but there is no secret symbolism or meaning to any of the elements. They are not meant to actually represent anything. They are all the same size, 40 x 50 cm, and all oil on canvas.

As any painter knows, particularly an abstract painter, once you start painting the work takes on a life of its own. It's as though the act of putting the first dab of paint on the surface brings something alive that was dead before, or did not exist at all. But once the paint is on, it lives, and what happens to the painting is, to a large extent, due to what the picture wants to do, not what the artist wants.

This is a strange notion, but I have done several paintings where I tried to make the picture do what I wanted it to do. It resisted me. There was bad energy coming from it. When this happens the picture is most unsatisfactory. Then some or all of it is painted over. When I finally realize that this must be done, and then give in to the will of the picture, the result is much better, the painting satisfies me, and good energy is all round.

I am not a new age freak, I do not believe in all this spirituality, but there is definitely a vibe coming from the canvas once the pain is put on.

This is perhaps an element to abstract painting that makes it so appealing to both the artist and the viewer. Look at an abstract painting in museum, where you can see it up close, in its original size, and see the true colors. You will either sense that the artist surrendered to what the painting wanted to do, or that the artist continued to struggle against the painting, imposed his will, and then quit. The result may be a work that is satisfactory to look at, in general, but there will be something not quite right - something negative coming from it.

Cy Twombly

The other day I was in the Peggy Guggenheim Collection here in Venice and for the first time actually noticed a painting by Cy Twombly. It's possible that the painting was not there before, or that my state of mind at the time caused me to ignore it. But now I was looking for some inspiration, as I have not painted anything for a few weeks, and did not have the inclination to do so. Since the visit I have not painted, either, but I bought two canvases.

I had heard of Cy, but I had not lent any importance to him until now. I did a little research when I got home and discovered that he is still living, and lives and works in Rome. I looked at other of his paintings on the internet. I do not like all of them, and I think the best work was done in the 50's, but he is still going at it, although he is 80. This gives me hope.

My research came up with an article relating to his recent exhibition at the Tate Modern. There were tidbits from an interview with him, and the most interesting part was his observation that he looked in books dealing with modern art, and the abstract expressionists or gesturalists, of which he is clearly one, but his name does not appear. His works are in important museums all over the world, but he is still only a blip on the radar. Is this because he is still alive?

His paintings, even the more recent stuff, are sort of the antithesis of mine. I generally cover the whole canvas (but not always) and that part of the canvas that is covered is full of color and activity. His paintings, particularly the older ones, are much more sparse. You may see more of this effect in my paintings in the future; I like the effect. Actually, it had occurred to me to make sparse paintings with pencil marks and drawings, but I have not been able to bring myself to stop painting before the canvas is covered.

See my art at

Basket of Fruit

This painting is called "Basket of Fruit" because I thought I should give it a title, and it looked to me like a basket of fruit. I could just as easily have called it "Easter Bunny." I read a forum recently that was discussing the question of whether to give titles to your pictures. Most of my pictures, including this one, are not meant to represent anything. But does it leave the viewer unsatisfied if the thing does not have a title? I think people like to have titles, so I am going to take up the habit of giving titles to my paintings.

Abstract on Paper 6831

This is one of my oil paintings on paper. I like to make two sizes of paintings: very large and very small. The in between sizes are ok, but they are less fun. The small paintings are good because I can do a lot with them, experiment a lot, and can sell them at a lower price.

This painting is done in a gestural style. If you are interested in affordable abstract art, these are for you. You can get three or more of them and make a little arrangement.


This is an experimental work, oil on canvas. It is important for an artist to have an identifiable style and to be consistent. Amateurs will sometimes jump all over the place. On their websites you are likely to see paintings of different styles, including attempts at abstraction, and even more feeble attempts at realism, mixed with photographs, and maybe even jewelery. The professional, on the other hand, will work on and develop a unique style over time and pretty much stick with that, making changes slowly, so as not to upset gallery owners and clients.

At the same time, an artist should not become stagnant, and it is necessary to experiment. This is such a painting. It is looser and less rigid than some of the more geometric paintings I've done. It explores the line between when a bit of paint on the canvas starts to look like a recognizable image.

Woman in a Cheap Green Hat

This is one of my geometric paintings. There are several common elements in my paintings over the past year and a half: they contain a lot of circles, squares, and slanted lines. The green square at the top reminded me of a hat. I thought that a hat like that would be cheap.

My paintings also have in common vivid color. The colors in this painting are quite interesting; I was experimenting with light blue, light green, a deep yellow and red. I think it worked very nicely, and this painting would make an interesting addition to any room.