Pistols Series
Shop our vast selection in the collection of our Pistols Series
RIBBON REVOLVER
Combine painting-acrylic, mixed media, affixed grip and .925 sterling silver on canvas
28 x 24 in. (71.1 x 60.9 cm)
Utilizing powerful primary saturated hues, Ribbon Revolver displays both organic beauty and the human condition. The surrounding ribbon-like gestures of pink, loosely applied and almost calligraphic, disrupt the rigid geometry with a sense of fluidity. The central figure, rendered in silhouette, resists specificity, becoming less an instrument and more an archetype, a stand-in for authority, fear, or autonomy depending on the viewer’s disposition. This tension between control and spontaneity invites a reading beyond the literal, positioning the revolver not merely as an object, but as a symbolic axis around which themes of power, consequence, and perception.
CARRY DECO
Combine painting-acrylic and mixed media utilizing .925 sterling silver and superimposed pistol grip
24 x 24 in. (60.9 × 60.9 cm)
With the centenary of the Parisian-influenced, rapidly adopted art deco style of the 1920s-1930s, Carry Deco, the style of .380 cal concealed weapon peaked popularity in the Art Deco era. .925 sterling silver discs used as screws that fasten the grip to the pistol visually reference to the bold use of precious materials and elevated craftsmanship innate to the emergence of this style. Collinear points formed by the bold vectors at their right angles allude to the influence of cubism on the zigzag moderne, the earliest form of Art Deco. The emulation of bronze doré for the backdrop, while interpretable as simply being cohesive to Art Deco, speaks to the dissolution of Art Nouveau. This simulated ormolu, ensconces the dialectic of the causal of shift from Art Deco to Streamline Modern.
OLD FRIEND
Combine painting-acrylic and mixed media utilizing affixed knife and consumerism reference.
24 x 20 in. (60.9 x 50.8 cm)
Old Friend is a study in tension—between control and chaos, structure and instinct. At the center, a silhouetted pistol form—reduced, flattened, and nearly anonymized—interrupts the geometry. Its presence is neither fully integrated nor entirely separate; instead, it hovers within the composition, outlined with a subtle halo that separates it from the surrounding plane. The grip, rendered with tactile realism, becomes the focal anchor—contrasting the otherwise flattened, graphic language of the piece.
PISTOL POWER
Combine painting-acrylic and mixed media utilizing .925 sterling silver.
28 x 24 in. (50.8 x 60.9 cm)
Pistol Power is constructed through a collision of rigid geometry and layered painterly surface, where controlled structure meets moments of abrasion and release. The composition is anchored by a central spherical form built from a dense repetition of triangular units, creating a patterned volume that feels both mathematical and optical. This sphere operates as a gravitational core, holding the surrounding elements in tension while simultaneously suggesting motion, as if it’s radiating energy outward.
CONTEMPORARY COWBOY
Combine painting-acrylic and mixed media-superimposed pistol grip.
30 x 24 in. (76.2 x 60.9 cm)
Combining a multitude of techniques oriented in a horizontal plane, Contemporary Cowboy speaks on the provisional tastes in American design. Strong, textured converging lines with sharp vertices and vibrant hues strongly contrast with metallic, homogenous base. Highlighting the lightest lights, and darkest darks, bold use of vanta-black hued quadrilaterals portray the uncertainty and seemingly intentional dismissal of design as trends change. Perspective lines, overlapping chaotically are this loss and reemergence of old design and tradition as it is ‘recycled’. Recognized as a quintessential American motif, the Western pistol, displayed as a vector in the center of this chaotic emulsion lurks as a shadow. The display of the pistol as a loose, but discernible form reinforces the universal truth of this theme, often going unnoticed in its rapid cycle.
CATTLE DRIVE
Robert Phaneuf
Combine painting-acrylic and mixed media utilizing .925 sterling silver
24 x 24 in. (60.9 x 60.9 cm)
At the focal point, a simplified, mask-like form emerges. It reads somewhere between mechanical and symbolic: horn-like extensions arc outward, while a central vertical axis bisects the figure with near-surgical precision. This symmetry is intentional but not sterile—the hand-rendered quality keeps it from feeling overly calculated. A thin red line cuts across the upper portion, suggesting interruption or containment, while a single downward drip introduces a subtle sense of gravity and consequence.
AIM TO PLEASE
Combine painting-acrylic and mixed media with repurposed .925 sterling silver
30 x 24 in. (76.2 x 60.9 cm)
This take on a western revolver vector, styled in a surrealistic depiction, the revolver here is intentionally abstracted. Black linear elements traverse the canvas at varying angles, dividing the space into irregular geometric sections. With slightly exaggerated proportions represented almost directly as an icon or emblem than a specific, identifiable model, Aim To Please speaks on the act of “aiming”. Extending beyond the literal and into decision-making and control, the fractured geometry surrounding the central form reinforces the theme of focus amid distraction.
PULL
Combine painting-acrylic and mixed media utilizing .925 sterling silver
30 x 22 in. (76.2 x 55.8 cm)
This piece builds itself around a fractured geometry of repeated triangular forms, loosely echoing an isosceles framework while resisting strict mathematical order. Thin, hand-drawn lines radiate and converge across the surface, creating a sense of tension between structure and spontaneity. Rather than resolving into a single fixed vanishing point, the perspective feels suspended, pulled inward toward a central seam that acts more like a rupture than a horizon. At the core, darker gestural forms emerge ambiguous, almost mechanical or skeletal in appearance. They read as both constructed and eroded, as if partially revealed through abrasion or time. These central marks anchor the composition while also disrupting it, pushing against the surrounding symmetry.
BLACK ORBIT
Combine painting-acrylic and mixed media utilizing .925 sterling silver
28 x 24 in. (50.8 x 60.9 cm)
Black Orbit centers on a volatile convergence of motion, force, and gravitational pull. A radiant, spherical form—constructed from a dense lattice of repeating triangular geometry—glows at the core of the composition. Its surface pulses with high-contrast reds and yellows, creating a sense of internal heat and rotational energy, as though the sphere itself is both object and engine. Radiating outward, sharp black vectors fracture the space, cutting across the canvas like accelerated trajectories or collapsing sightlines. These directional forms disrupt the sphere’s symmetry, suggesting impact, orbit, or containment—forces acting upon and against the central mass. The layered perspective resists stability; instead of a single viewpoint, the composition splinters into multiple axes of motion, evoking both expansion and compression simultaneously.
GET A GRIP
Acrylic and mixed media on canvas, with .925 sterling silver and a solid wood grip.
28 x 22 in. (71.1 x 55.9 cm)
In Get a Grip, the visual language of geometric abstraction fuses with the charged presence of a central wooden grip, and speckled sterling silver. Radiating bands and fractured planes of saturated color—yellows, blues, and greens—intersect across the canvas in a dynamic, angular network, creating a sense of tension, motion, and structural imbalance. These intersecting lines function as both compositional scaffolding and directional force, converging toward the center where the work’s focal element resides.
SILVER TARGET
Combine painting-acrylic and mixed media utilizing .925 sterling silver
36 x 24 in. (91.4 x 60.9 cm)
This piece builds itself around a fractured geometry of repeated triangular forms, loosely echoing an isosceles framework while resisting strict mathematical order. Thin, hand-drawn lines radiate and converge across the surface, creating a sense of tension between structure and spontaneity. Rather than resolving into a single fixed vanishing point, the perspective feels suspended, pulled inward toward a central seam that acts more like a rupture than a horizon. At the core, darker gestural forms emerge ambiguous, almost mechanical or skeletal in appearance. They read as both constructed and eroded, as if partially revealed through abrasion or time. These central marks anchor the composition while also disrupting it, pushing against the surrounding symmetry.
MEXICARRY
Combine painting-acrylic and mixed media utilizing .925 sterling silver, and affixed embellished grip
30 x 24 in. (76.2 x 60.9 cm)
Positioned toward the lower portion of the composition, a stylized pistol form appears in reduced scale, rendered with a combination of painted and material elements. Its placement, removed from the central axis, shifts its role from dominant subject to a quieter, anchoring presence within the broader system of forms. Rather than commanding attention, it operates as a point of reference within the composition’s larger structural rhythm.
RED PISTOL
Combine painting-acrylic, mixed media, and .925 sterling silver on canvas
30 x 24 in. (76.2 x 60.9 cm)
Red Pistol presents a rigorously constructed field of intersecting planes and directional lines, within which a stylized pistol form is embedded at the compositional center. Executed in a palette of saturated reds, blues, and punctuating yellow gestures, the work balances geometric precision with moments of expressive release. Angular color blocks and linear vectors traverse the surface in multiple directions, creating a fractured spatial system that resists a singular point of perspective.
SIX GUNS
Combine painting—acrylic with superimposed mixed media elements
28 x 22 in. (71.1 x 55.8 cm)\
Intersecting bands of dark, almost infrastructural lines divide the canvas, overlaid with erratic white linear gestures that evoke tension, fragmentation, or even circuitry. These crossings disrupt the grid’s stability, introducing a sense of collision—between order and chaos, repetition and rupture. The guns themselves, though static, become participants in this tension, caught within a system that both contains and destabilizes them.
NO TRESPASSING
Acrylic and mixed media on canvas.
30 x 24 in. (76.2 x 60.9 cm)
No Trespassing is a dense and explosive composition that transforms the visual language of warning signs, territorial boundaries, and defensive symbolism into a fractured field of layered abstraction. Revolver silhouettes radiate outward from the center of the canvas in overlapping directions, creating the sensation of collision, expansion, and containment simultaneously. Rather than functioning as isolated objects, the firearm forms dissolve into the larger architecture of the composition, becoming fragments within a turbulent system of intersecting color and motion.
TEXAS TURNPIKE
Acrylic and mixed media on canvas.
36 x 24 in. (91.4 x 60.9 cm)
Symbolizing the expansive, iconic roadway systems of Texas, the composition itself mirrors the sensation of navigating sprawling interchanges and endless open routes. Long linear bands cut through the canvas like highways seen from above, while the outward-facing revolvers resemble compass points, signage, or mechanical emblems embedded within the landscape. Rather than functioning solely as depictions of firearms, the outlined forms become symbolic representations of frontier mythology and the enduring iconography of Texas.
REEL GUN
Acrylic and mixed media on canvas with .925 sterling silver and affixed grip.
30 x 30 in. (76.2 x 76.2 cm)
Reel Gun is a constructivism styled piece using a dabbing technique over opaque polygons to give the illusion of texture. Focalized within the composition, a turn of the century film reel projector firearm can be observed. The piece uses representations and the combination of two mechanical devices, contrasting in their functions, to display the theme of the emotional power of cinematic media. Themes such of stereotypes, control and corruption are included, strengthening the overall message. .925 sterling silver inserted within the screw holes of the grip represent the slotted screws used in the assembly of firearms.
IN SIGHT
Acrylic and mixed media on canvas with mounted sculpture
36 x 24 in. (91.4 x 60.9 cm)
The dominant yellow ground introduces associations with sunlight, heat, cautionary signage, and mid-century graphic design, while the deep red divisions intensify the sensation of movement and directional force. Together, these contrasting fields create an atmosphere that feels both optimistic and confrontational, balancing warmth with tension. The simplified geometry recalls Constructivist design, futurist visual language, and architectural drafting, allowing the composition to function almost like an emblem or signal.
LADIES CHOICE
Acrylic and mixed media on canvas.
36 x 24 in. (91.4 x 60.9 cm)
The title, Ladies Choice, introduces both irony and ambiguity, reframing the composition through the language of selection and agency. By presenting the firearm silhouettes in varying scales and configurations across distinct color fields, the painting evokes the structure of fashion displays, cosmetic palettes, or commercial advertisements, subtly blurring distinctions between consumer culture, gendered aesthetics, and traditional symbols of dominance. The result is simultaneously playful and confrontational.
ISLAND MUSIC
Acrylic and mixed media on canvas with .925 sterling silver and affixed grip.
36 x 24 in. (91.4 x 60.9 cm)
Island Music fuses geometric abstraction with musical symbolism, transforming the familiar form of a guitar into a fragmented visual rhythm of color, movement, and spatial tension. Deep crimson, black, and luminous tropical greens intersect throughout the composition, creating a sense of syncopation and movement reminiscent of layered musical arrangements or shifting soundwaves. The work’s vivid palette draws direct associations with tropical island environments: turquoise ocean water, saturated sunsets, dense foliage, and neon reflections found in coastal nightlife.
MYSTIC COWBOY
Acrylic and mixed media on canvas with .925 sterling silver and affixed grip.
30 x 24 in. (76.2 x 61 cm)
Mystic Cowboy merges the visual language of geometric abstraction with the mythology of the American West. Angular planes of cobalt blue, crimson red, and ochre gold intersect across a heavily textured ground, creating a fractured architectural space that feels simultaneously constructed and collapsing. The composition evokes movement and collision, like fragmented memories, shifting landscapes, or the splintered iconography of frontier Americana.
MAKE YOUR POINT
Combine painting-acrylic and mixed media with elements of pop art and .925 Sterling Silver
30 x 24 in. (76.2 x 60.9 cm)
In Make Your Point, opposing forces converge within a precisely structured geometric landscape, creating a composition that is at once confrontational and harmonious. Two revolvers face one another across the canvas, their mirrored positions establishing a visual dialogue that speaks to conflict, conviction, and the power of perspective.
RED MY LIPS
Acrylic and mixed media on canvas with .925 sterling silver and affixed grip
24 x 18 in. (60.9 x 45.7 cm)
The title introduces a layer of playful ambiguity, transforming the work from a straightforward depiction into a meditation on desire, identity, and perception. The brilliant crimson hue evokes both passion and danger, while the reference to lips suggests themes of attraction, expression, and seduction. By linking these seemingly disparate ideas, the painting invites viewers to consider the ways in which power can be communicated through both force and allure.
IM ALL IN
Combine painting-acrylic and mixed media with elements of pop art
28 x 22 in. (71.1 x 55.9 cm)
In I'm All In, a solitary revolver is presented against a vibrant field of crimson and white, its stark silhouette emerging from a surface alive with texture and movement. The title draws its inspiration from the familiar phrase used in card games and high-stakes gambling, where a player commits every remaining chip to a single wager. In that moment, hesitation disappears, and everything rests on one decisive choice. The composition reflects this spirit of commitment and risk. The revolver stands alone, isolated at the center of the canvas, commanding attention through its simplicity and presence. Surrounding it, layered red brushwork creates an atmosphere of intensity and urgency, suggesting the emotional energy that accompanies moments when everything is placed on the line..
GUN LOVERS
Combine painting-acrylic and mixed media with elements of pop art
28 x 22 in. (71.1 x 55.9 cm)
Gun Lovers transforms one of the most recognizable mechanical forms in American culture into an intricate visual pattern that is both playful and contemplative. The composition is constructed from a network of interlocking pistol silhouettes, arranged in a manner that blurs the boundary between object and abstraction. Unpracticed civilians tend to be shaky when firing a pistol. The eye is drawn to the geometric rhythm created by the two guns that appear to be kissing.
CHAIN REACTION
Combine painting-acrylic and mixed media with elements of pop art with included chain
24 x 24 in. (60.9 x 60.9 cm)
Chain Reaction explores the concept of interconnected consequences through a dynamic fusion of industrial imagery, geometry, and mechanical symbolism. At the center of the composition rests a white pistol silhouette with a suspended chain that weaves through a series of gear-like forms, visually linking each component into a single mechanical sequence. The piece is symbolic of unnecessary and dangerous control or use of a pistol.
YOUR DRAW
Combine painting-acrylic and mixed media
30 x 24 in. (76.2 x 60.9 cm)
Through its fusion of abstraction, symbolism, and geometric precision, Your Draw transforms a familiar phrase into a broader reflection on accountability and opportunity. The painting captures the instant before action—the brief but consequential space in which possibilities remain open and the next move belongs entirely to the individual. The title references the familiar phrase exchanged during a duel or a poker game—"Your draw"—the moment when action passes from one individual to another. It is an invitation, a challenge, and a transfer of responsibility all at once.
TARGET HORIZON
Combine painting-acrylic and mixed media with elements of pop art
30 x 30 in. (76.2 x 76.2 cm)
The alignment of the red weapon pointing straight up into the geometric sky dome perfectly captures that idea of aiming at a distant futuristic boundary. Hovering above the apex is a luminous spherical form reminiscent of a celestial body or distant world. Its patterned surface contrasts with the stark geometry below, introducing a sense of mystery and scale. The sphere's position along the horizon line suggests a point of convergence where terrestrial and cosmic perspectives meet.
THE SCALES OF JUSTICE
Combine painting-acrylic and mixed media with elements of pop art and affixed chains.
24 x 24 in. (60.9 x 60.9 cm)
Scales of Justice reimagines one of civilization’s oldest symbols of law and fairness. At the center of the composition displays a stylized balance scale, suspended against a vibrant network of intersecting forms. It can be observed that while the beam of the balance sits level, the masses of each fire arm are distinctly unequal. Off centering the fulcrum of the scale displays the idea of mankind's inherent bias, with laws and constitutionality being reinterpreted everyday, it displays the lack of correlation between the scale of justice and the balance of justice.