In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

In 1993 Miguel left NYC forever. He had fallen in love with the quiet desert landscapes of the Southwest. Driving a small camper built to fit his enormous canvases, Miguel traveled from New York to West Texas in less than two days. He arrived in Terlingua, a small Ghost Town outside Big Bend National Park. It was a cloudy day. He stopped at the sight of some wooden crosses that were falling apart. It was the town’s old graveyard. This became the subject for his first desert landscape.

For a period of 8 years Miguel and I lived in the camper, looking for the next perfect landscape and stopping to paint whenever we found it. We visited Texas, Arizona, New Mexico, Colorado and Utah constantly feeling moved and grateful for waking up in the magnificence of nature. Miguel painted slowly and the constantly changing weather conditions made his painting even slower. By the end of our journey he had completed 10 large desert landscapes.

Miguel hand picked every flower he painted.

He searched out Flower Markets and exotic flower shops in China Town. He was up at 4 am to make sure he got first pick and brought to the studio the flowers, carefully wrapped up in newspaper; muses for the painting he would paint next.

When a flower wilted before he had finished painting it, he’d go out in search of a similar specimen and would carefully replace it in his composition. Miguel never used photographic references.  Never took a shortcut. The only two ingredients he used in his work, light and life.

Miguel hand picked every flower he painted.

He searched out Flower Markets and exotic flower shops in China Town. He was up at 4 am to make sure he got first pick and brought to the studio the flowers, carefully wrapped up in newspaper; muses for the painting he would paint next.

When a flower wilted before he had finished painting it, he’d go out in search of a similar specimen and would carefully replace it in his composition. Miguel never used photographic references.  Never took a shortcut. The only two ingredients he used in his work, light and life.