Gallery — original artwork by Josh Jones

Meson art style minimalist painting. Specially created for talented interior designer Kathy Koenig.

Texturized minimalist painting. One color, Mars Black.

Portrays the legendary Roman ruler Julius Caesar in his stoic form, a ruthless strategist whose relentless ambition forged an empire. The phrase, “All I Ever Wanted Is Everything,” embodies his unending pursuit of conquest, reflecting a belief that still echoes today: the insatiable desire for more can ultimately become the cause of one’s downfall. The work serves as a reminder that true strength is found not in possessing everything, but in knowing when enough is enough, for with great power comes the responsibility to recognize that faith and purpose are often all one truly needs.

Silver and stone. You interpret it as you please.

Based on the real sheriff Wild Bill Hickok (1837-1876). A renowned sheriff whose name became synonymous with law, justice, and the untamed American frontier.

Native American chief and warrior, embodying the confident strength of Native American culture.

Dead-Shot rifle man

The bad guy, the mercenary, the counterpart to cactus jack.

The original, a roaming gunslinger driven by the freedom of the open desert.

The state of euphoria brought into a physical image, this being my first oil painting, a complication of color, folds, and roses. (Commission piece).

2025, Acrylic on canvas. 48” x 30”. 4 Peaks reimagines Arizona’s iconic Four Peaks mountain by dividing it into four distinct visual interpretations. Each peak is rendered in a different style — from naturalistic detail to grayscale study, warm expressionist tones, and bold, almost surreal abstraction. Together, they form one continuous mountain, unified yet diverse. The work is both a celebration of place and an exploration of artistic perspective. By shifting style across each section, the painting demonstrates how a single subject can be seen through endless creative lenses — reminding us that identity and meaning are shaped as much by perception as by form.

2024, Digital drawing. Impossible Chain II is a digital exploration of paradoxical geometry, linking three impossible figures — the Penrose triangle, the impossible square, and the infinite circle. Bound together in a vertical sequence, these forms create a chain of contradictions that can exist only in two dimensions. Each shape is rendered with bold, gradient colors — fiery oranges, vibrant pinks, and cool blues — emphasizing their individuality while uniting them in a seamless, continuous structure. The work pushes the viewer to question perspective, dimensionality, and the boundaries of visual logic. A continuation of my fascination with impossible forms, Impossible Chain II is both a puzzle and a meditation — a reminder that imagination allows us to see beyond what the physical world permits.

2025, Acrylic on canvas. 60”x 48”. King is an installment in the Hello I’m Dead series, presenting a crowned skeleton mid-declaration. With one hand raised as if issuing orders, the figure embodies authority, command, and rule. Yet the irony is clear — death has already claimed him, and no more power can be exercised beyond the grave. The work reflects on the futility of control, suggesting that no crown, title, or decree can outlast mortality. The vivid, multicolored strokes add an almost regal energy to the skeleton, reinforcing the absurdity of his continued pose of power.

2025, Acrylic gesso on canvas. 48” x 48”. Bender reimagines the iconic robot from Futurama through the lens of contemporary pop art. Rendered in flat, bold paints mixed with gesso for texture, the piece blends humor, nostalgia, and artistic homage. The defining feature — X’s across the eyes — is a direct nod to the work of KAWS, one of my greatest artistic influences. The result is both playful and reverent: a mashup of cartoon absurdity and high-art sensibility. Bender exists at the crossroads of fandom and fine art, where a beloved TV character transforms into a collectible statement piece.

2025, Acrylic on canvas. 84” x 54” He Loves You portrays Jesus in the moments following His sentencing to death. Blood drips from the crown of thorns as He looks upward, hands folded in prayer, embodying both the agony of betrayal and the unwavering depth of His love. In this painting, the weight of humanity’s rejection is met not with anger, but with forgiveness. Despite the courts, the people, and even His closest followers turning away, Jesus still lifts His gaze to the Father, asking mercy on behalf of us all. This work is a meditation on grace in the face of suffering — a reminder that love, even in its most painful expression, has the power to transcend betrayal, cruelty, and death itself.

2025. Acrylic on canvas. 92” x 68”. Error 404 is a continuation of my Hello I’m Dead series, where skeletons are placed in ironic or thought-provoking scenarios. Here, the figure holds a bouquet of pixelated roses — all wilted, except for one impossibly living bloom. The title references the digital error code, a missing file or broken system. In this context, the “error” becomes the rose itself: a glitch of life persisting where only death should remain. The mix of skeletal form, digital-style flowers, and symbolic imperfection creates a visual reminder that even in endings, fragments of life endure.

2025, Acrylic and spray paint on canvas. 60” x 60”. Chrome is a tribute to the iconic design language of Chrome Hearts — a brand that has long been celebrated by fashion lovers for its fearless blend of luxury and edge. The piece reimagines the label’s signature motifs: bold Gothic lettering, ornate crosses, and a layered pattern that feels both rebellious and refined. Bright, multicolored crosses stand out against a stark black background, symbolizing individuality within uniformity, while the central Chrome Hearts emblem dominates the composition. The result is a work that feels both graphic and expressive, bridging the worlds of fine art and fashion. As a fan of their unapologetic design philosophy, this painting was created in honor of the brand — a celebration of style, culture, and the artistry that exists in the crossover of fashion and visual art.

2023, Acrylic and Molding paste on canvas. 24” x 24”. Moon is both a reminder of distance and a shared point of connection — a place most will never visit, yet one we all see glowing above us each night. The painting embodies the idea of reaching beyond limits: “shoot for the stars, and you might just land on the moon.” The surface itself is sculpted rather than painted, with craters built up using molding paste to create a tactile, three-dimensional texture. Subtle mineral-like colors — reds and blues inspired by photographic imaging — highlight surface patches invisible to the naked eye, revealed only through certain lenses.

2025, Acrylic on canvas. 48” x 48”. The first installment in my Maze Series, The Maze (Blue Study) reimagines life as a network of endless decisions — a path without a finish line. Each turn represents the choices we face, the uncertainty of direction, and the rhythm of moving forward without ever fully knowing where the journey will lead. Unlike the red version, which embodies anxiety and fear, the blue palette transforms the maze into a calm, meditative reminder that everything will be okay. The cool tones offer reassurance: no matter how complicated the path becomes, the act of continuing is what gives life its meaning. With no exit and no final destination, this piece is not about resolution but about reflection. The Maze (Blue Study) invites the viewer to embrace the process — to find peace in movement, and to trust the journey itself.

2025, Acrylic on canvas. 60” x 48”. The Maze is a visual meditation on life in my twenties — a period defined by uncertainty, constant choices, and the weight of navigating the unknown. The deep red palette embodies anxiety and fear, emotions that often shadow moments of growth. The interlocking maze pattern represents the endless turns and decisions that shape the path forward. Intentionally, the maze has no exit, no clear destination. This absence of resolution reflects the truth I’ve come to accept: life is not about reaching a finish line, but about moving through the journey itself. Each step, each decision, each wrong turn and right one, builds the story of who we are becoming.

2024, Acrylic on canvas. Part of my ongoing Hello I’m Dead series, Misfire puts a skeleton in a hilariously grim situation: a cowboy mid-draw whose firearm betrays him, firing not bullets but a comic-style flag labeled BANG!. The skeleton wears a nametag reading Hello, I’m Dead — a nod to the irony that his fate is sealed not by violence, but by absurdity. The series plays with humor and mortality, using skeletons as characters caught in ridiculous, unfortunate scenarios. In Misfire, the collision of cowboy bravado, slapstick comedy, and death’s inevitability creates a scene that’s equal parts satire and statement.

2025, Acrylic on canvas. 48” x 30”. Part of my ongoing series blending iconic cars with the neon streets of Japan, Import, captures the unlikely harmony between a German-engineered Porsche 911 Turbo and the electric chaos of Tokyo. The rain-slick streets reflect glowing signs, pulling the viewer into a scene where two cultures — separated by geography and history — seamlessly intersect. The composition is built on contrast: Western automotive design set against Eastern urban architecture, tradition colliding with modern energy. Yet within the painting, these worlds don’t clash — they complement one another, proving that beauty often exists where opposites meet.

2025, Acrylic on Canvas. 48” x 30”. This work reimagines the grand interior of the Pantheon through a restrained palette of teal, transforming the architectural marvel into something at once real and ethereal. The softened tones and layered depths guide the viewer into the space, inviting them to walk the hall, feel the symmetry, and look upward toward the light spilling from the dome. By limiting the color spectrum, the painting emphasizes light, shadow, and depth — using contrast to breathe life into stone and geometry. The result is a scene that feels both grounded in architectural reality and lifted into abstraction through color.

2024, Digital drawing. Impossible Chain is a study in paradox and perception, built from three interlocked Penrose triangles — objects that cannot exist in physical space, yet appear seamless in two dimensions. The chain links together what geometry itself denies, forming a visual puzzle that draws the viewer into its impossibility. This piece reflects my ongoing pursuit to create visuals of geometry that defy logic. By stacking and connecting these triangles, the work challenges perspective, perception, and the boundaries between reality and illusion.

2024, Digital Drawing. Inside Out is an abstract portrait of a man looking toward the sky, where color, personality, and inner life are brought visibly to the surface. Instead of hiding within, the subject’s spirit bursts outward in bold shapes and saturated hues — a kaleidoscope of identity, thought, and feeling. The piece represents the unseen becoming seen: a reminder that beneath every expression lies an entire world of emotion and individuality. The upward gaze suggests aspiration, hope, and transcendence, while the flowing forms reveal the complexity of what lives within.

2023, Acrylic on canvas. 48” x 36”. Inspired by a lifelong fascination with Egyptian history, Tut is an abstract reimagining of the legendary golden mask of King Tutankhamun. Since childhood, I’ve been captivated by the mysteries of ancient artifacts — objects that carry both beauty and the weight of history. This painting reflects that early curiosity, filtered through my own artistic lens. Rather than recreating the mask as it is known, I sought to present it in a way not seen before: fractured into shapes, colors, and flowing forms that speak to both its timelessness and its transformation through modern interpretation. The result is a work that bridges past and present — an echo of one of the world’s most famous treasures reinterpreted as contemporary abstraction.

2021, Mixed media of micron pen and watercolor on paper. 24” x 12”. This drawing captures the soaring interior of the Pantheon in Paris — a place where art, architecture, and history converge. Executed with meticulous micron pen lines and deep black watercolor washes, the piece emphasizes perspective, symmetry, and the overwhelming scale of the structure. Every arch, dome, and carved detail works together to honor the architectural mastery of one of Europe’s most iconic landmarks. For me, Pantheon grew out of a long-standing fascination with foreign architecture. The challenge of translating such intricate halls and vaulted ceilings into pen and paper became both a study of discipline and an act of reverence.

2024, Acrylic on canvas. 60” x 48”. Tokyo Porsche merges two lifelong fascinations — the neon-lit chaos of Tokyo’s cityscape and the timeless design of Porsche. The painting stages a 911 Carrera against a backdrop of glowing signs, rain-slicked streets, and towering architecture, creating a scene that feels both cinematic and surreal. Executed in a colorful, abstract, and loose style, the work celebrates contrast: the sleek European car set against the dense rhythm of Japan’s capital. The reflections, textures, and vibrant palette amplify the energy of the city while anchoring the Porsche as an outsider that somehow belongs.

2024, Acrylic on hardboard. 84” x 60”. Trillusion is an exploration of folded geometry and the paradox of perception. At its core lies a Penrose triangle, a shape that cannot exist in three dimensions yet remains instantly recognizable to the human eye. From this central impossibility, layered beams of color extend outward, bending and overlapping to create an illusion of infinite depth and shifting planes. The paint was mixed with gesso to achieve a flat, uniform texture, enhancing the crispness of each edge and allowing color alone to define form. The result is a work that challenges the viewer’s sense of perspective while pulling them into a rhythm of sharp contrasts, subtle gradients, and impossible symmetry. This piece is both a study in mathematics and an expression of wonder. A reminder that reality and illusion often occupy the same space, depending on how we choose to see.

2020 Acrylic on canvas, 30” x 24”. This piece captures a quiet Parisian street view leading to the Eiffel Tower — one of the most iconic landmarks in the world. Painted with tight, deliberate lines, the work balances architectural precision with the organic flow of greenery, drawing the eye upward toward the tower’s steel structure against a soft, clouded sky. For me, “Never Been” is personal. Paris has always been a destination I’ve longed to experience, yet this painting became my first true encounter with the city. Through brush and canvas, I was able to step into a place I’ve admired from afar but never visited — making the act of creation its own kind of travel. The work was honored with 1st Place at the DVUSD District Art Show, a recognition that affirmed both its technical detail and emotional resonance.