From the very beginning my journey has been fascinating. From sketching small band logos on the high school desks to painting massive logos on stage backdrops for concerts seen around the world. Maybe the Universe was foreshadowing my paths. I wonder, because another one of my artworks as a kid was of animals painting a billboard. Then, there I was, many years later, painting billboards in the billboard capital of the world. Las Vegas, NV.
It's been revealing itself over time, but the moment it all became much clearer was when I saw a little boy and his mom on the news, standing next to the ruins of their home in Altadena, CA., after the massive Los Angeles fire in Januar 2025. The boy said, “And it’s all lost its color.” That hit me hard. I had already been putting more time, thought, and action into helping kids — building the Whimsical Launch Pad for school guest presentation visits, launching the Curious Kids Workshop, and exploring the opportunity to take art supplies to the Ukrainian kids in 2022. But that one boy’s words dramatically sharpened my focus.
That moment was the magic behind Melted Crayons Mission (MCM). I knew I had to immediately move forward and take everything I’d learned and channel it into something bigger than myself with a very important meaning. It was time to help kids who’ve lost everything in a home fire by giving them back not only the tangible art supplies lost in the fire, but also the creative outlet that is among the vital paths to getting through.
For over 15 years, I painted stage backdrops for high-profile classic rock and '80s rock bands. I painted in every imaginable situation and often hand-delivered them in moments of equally strange situations. Probably the most notable experience was attending a private show with a backdrop way out in the Kansas sticks for Vince Neil of Motley Crue. A delivery to Queensryche at the Hard Rock in Vegas was also unforgettable. I never imagined my work would fly on stage behind some of the most well-known acts on some of the most legendary stages around the world. I am truly honored for such an amazing opportunity.
The full-circle realization and bliss came when I painted a backdrop for KISS’s private party in Hollywood. The process of painting it and delivering it was amazing. Growing up, my walls were covered in KISS posters from floor to ceiling, now my art flew so silent under the stage lights. It’s a strange thing seeing that. But honestly, it wasn’t completely about the process of creating the backdrops. It was about getting the resume and portfolio that I knew would take me higher. The process itself was a gas, but the result, the credibility, and the opportunities it created was, and still is, a wonderful experience.
Before going into the world of painted backdrops, I spent over a decade (1997–2010) painting large-scale commercial signs for major corporations, the US Government, and inside the motorsports world. That’s how I ended up painting the Bandimere Speedway logo at the starting line of the drag strip a week before the famous Mile High Nationals, the same track where I had placed 8th in the High School Drags years earlier. That was another full-circle moment I found kinda cool.
Seeing my work at the same place where my racing passion began many years earlier felt like it was just meant to be. Especially because shortly before that, I crew chiefed a local NASCAR team and traveled a bit with another team. That was an amazing time setting up the cars for speed and watching them win, and sometimes crash, with my graphics on the sides.
Las Vegas was a game-changer after art school and before starting the sign business back in Denver. I landed a job painting names of entertainers and their billboards with show dates on the Strip. It had it’s scary moments, but it was an incredible rush painting high above the ground with a view of the tourist down below. Not only was the job cool, but I was also exposed to a couple of the top painters in the country with decades of experience. They took me under their wing and showed me the very valuable ropes of art, and the one’s keeping you up on the board.
The lessons I learned in Vegas, from technique to professionalism, shaped how I approach my work to this day. Unfortunately, the billboard world was a dead-end street due to printing technology. Machines were starting to print the graphics on large banners, called super-flexes, which were then stretched over the billboard by the installation crew. The technology didn’t interest me the least bit, but I was going to ride out the hand-painting aspect for a s long as possible. I did, for almost 30 years. It was a lot of fun, and sometimes a bit crazy, but I would certainly do it all again because it led me to here.
The ‘80s, when the rock scene was a ‘more attitude with an edge’ spinoff from the 70s, was kickin’. That was such an amazing time, as many would agree. Going to concerts, hanging out with friends, the lingering 70s, and the huge respect for the cops on patrol who drag raced us, just after they busted us for drag racing. And, of course… the painted graphics on my first car, a grandma’s ‘72 Chevy Nova.
During that same ‘crazy fun’ time I wanted to ramp it up in the arts, so I attended two commercial art schools in pursuit of knowledge. Learning the technical side of typography, layout, paste-ups and camera-ready art for print and graphic publications was a huge plus. It not only gave me the resume addition I knew would open a door or two in the future, it also allowed me to turn in my work to somebody that was qualified to dissect and critique it. I now knew a little more about designing logos, so I worked with some local bands to take a peek at an idea brewing. I wanted to get my art exposed to the public
Middle school was all about BMX. I ranked 8th in Colorado, landed a front-page story in The Denver Post, a Denver radio interview, and evenstarred in a BMX commercial. It was my first taste of public exposure —understanding how visibility creates opportunity.That exposure opened doors to sponsorshipsand other media opportunities. Even at that age, I was starting to figure outhow talent and exposure could work together.
Before the signs, before the backdrops — Iwas into racing. In high school, I raced my ‘72 Novaat the High School Drags at Bandimere Speedway and placed 5th. That was myfirst real taste of performance under pressure — and the thrill of competition.Motorsports and art were separate worldsback then — but that experience at Bandimere planted the seed for how bothworlds would eventually merge.
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Art has never been just about raw expression for me — it’s about passing it on. Paying it forward. Art isn’t meant to be held onto; it’s meant to create a connection in someone else’s journey.That’s why MCM is more than just art supplies — it’s about rebuilding confidence and sparking creativity. When kids get that box of supplies after a fire, it’s not just about crayons or paint — it’s a reminder that someone out there sees them, believes in them, and wants them to create again.That connection, that creative spark — that’s the real win.
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