Inspired by the mythology of Robert Johnson's legendary crossroads, The Sinner's Crossroads explores temptation, consequence, and redemption through layered textures, reclaimed materials, and the quiet belief that unfinished stories—and unfinished paintings—sometimes deserve a second chance.
Strange as it may seem, during my teenage years I sang in the choir at two different African American churches. That's where my lifelong love of vintage gospel music began. For more than twenty years, I've been a devoted listener to The Sinner's Crossroads, a weekly radio program on WFMU in New Jersey devoted to classic black gospel recordings. Its title comes from the enduring legend of blues musician Robert Johnson, who supposedly met the devil at a lonely crossroads and exchanged his soul for extraordinary musical talent.
I completed this painting in 2025, but it never felt finished. A year later, I returned to it with fresh eyes, adding layers of paint, collage, and subtle symbols until it finally became the piece I had imagined. I like to joke that I made my own bargain at the crossroads—but fortunately, mine required only a little sandpaper, a few glazes, and a willingness to keep listening to the painting.
Layered with reclaimed materials, glazes, abrasions, and quiet symbolic references, The Sinner's Crossroads invites viewers to reflect on the choices that shape our lives. Rather than offering answers, the painting leaves space for contemplation, reminding us that redemption—and great art—often emerge through revision rather than perfection.
