Some days there are thousands of comments and messages across all platforms, and while I truly wish I could reply to everyone, trust me, I have tried, it’s just not possible as things continue to grow.

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Please know I do read them and reply when I can.

Many people also ask about my process, so to answer that here, I paint by hand using heavy body acrylic on 100% cotton canvas.

If you’d like to see more of my work or get in touch, please visit JeffDillon.ca.

Thank you

Jeff

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What has catapulted Leonardo da Vinci‘s “Mona Lisa” to the apex of global art recognition? Is it the subject’s enigmatic smile, the enduring mysteries surrounding her identity, or perhaps the grandeur of Leonardo da Vinci, a luminary of the Renaissance? These factors undoubtedly amplify the allure of this iconic 16th-century masterpiece. Yet, it was a daring theft just over a century ago that launched this understated portrait into the realm of unparalleled fame.

The Woman Behind the Painting

The portrait of Lisa Gherardini, famously known as the “Mona Lisa,” is not only renowned for its enigmatic smile but also for its rich, tumultuous history, including its infamous theft from the Louvre Museum. Painted by Leonardo da Vinci during the

Italian Renaissance, it depicts Lisa del Giocondo, a noblewoman from the Gherardini family of Florence and Tuscany. While little is known about her life, recent discoveries from a convent indicate that Lisa Gherardini was born on June 15, 1479 in Florence and likely died on July 15, 1542, at the age of 63, although some experts suggest she may have lived until 1551, reaching 71 years. This iconic painting, commissioned by her husband, a Florentine silk merchant, not only immortalizes her likeness but also serves as a window into the era that shaped her existence and the art world’s ongoing fascination with her story.

The Day the ‘Mona Lisa’ Disappeared

On August 21, 1911, a routine visit to the Louvre turned into a historic event when painter Louis Béroud arrived to find the “Mona Lisa” missing. Béroud, who had planned to sketch the famous painting, was stunned to see an empty space on the wall. He immediately notified the museum guards. The museum, not taking any chances, was closed to the public, and a rigorous search began. The entire facility was scrutinized, from hallways to hidden nooks, while authorities meticulously interviewed staff and recent visitors. The abrupt disappearance made headlines worldwide, jolting the art community and thrusting the Louvre into a frantic investigation to retrieve the stolen masterpiece.

Unraveling the Mystery: A Trail of Suspects

The initial phase of the investigation focused on Géry Piéret, known for his previous thefts from the Louvre. Piéret had a history of stealing various minor artifacts from the museum, which brought him immediately to the attention of the police. However, as he remained out of reach, investigators expanded their scrutiny to include Piéret’s associates, notably his employer, the famous poet Guillaume Apollinaire, and even Pablo Picasso. Both had previously acquired stolen items from Piéret, which implicated them in the ongoing investigation. After intense interrogations and a public scandal, both Apollinaire and Pablo Picasso were eventually exonerated, redirecting the focus of the investigation back to finding other potential leads.

Identifying the Real Culprit

As the investigation continued without a clear suspect, the breakthrough came when Vincenzo Peruggia, an Italian handyman and former Louvre employee, was apprehended. Peruggia had devised a simple yet bold plan: he hid inside the museum until after hours, removed the “Mona Lisa” from its frame, and then concealed it under his workman’s smock. Attempting to exit, he found himself locked inside, but his luck held when a workman unwittingly opened the door for him the next morning. Peruggia’s motives were partly patriotic—he believed the painting should be returned to Italy—and partly opportunistic, hoping that the disappearance would increase the value of forgeries he was involved with.

The Conspiracy Behind the Theft

In 1932, a sensational twist was added to the story by the Saturday Evening Post. The magazine published an article claiming that Eduardo de Valfierno had masterminded the theft. According to the report, Valfierno had hired Peruggia to steal the painting as part of a grander scheme that involved the art forger Yves Chaudron. Chaudron was alleged to have created six copies of the “Mona Lisa,” which Valfierno then sold to unsuspecting collectors as the original, exploiting the chaos surrounding the painting’s disappearance.

The Iconic Return

After more than two years, the “Mona Lisa” was recovered in 1913 in Florence, Italy, where Peruggia had kept it hidden in his apartment. He eventually attempted to sell the painting to the Uffizi Gallery, claiming his desire to repatriate the artwork to Italy. However, his efforts were thwarted when the gallery’s director sensed the deception and contacted the police. The painting was returned to the Louvre, and Peruggia was arrested. The incident not only reinstated the “Mona Lisa” to its rightful place but also elevated its status from a revered painting to a legendary icon, forever changing how it was perceived by the public and safeguarded by museums worldwide.

Beyond the Theft: Delving into the ‘Mona Lisa’s’ Lesser-Known Aspects

• Identity: The name “Mona Lisa” aptly reflects the identity of Lisa Gherardini, the woman portrayed, whose husband commissioned the renowned painting.

• Celebrity Adoration: The painting once decorated Napoleon’s bedroom, where it influenced his romantic sentiments.

• Physical Dimensions and Mysteries: Despite its fame, the “Mona Lisa” is surprisingly modest in size, measuring just 30 inches by 21 inches. The issue of its faded eyebrows has sparked significant debate, yet they were originally present, only to diminish over time.

• Unique Correspondence: The “Mona Lisa” is distinguished as the only piece in the Louvre that has a dedicated mailbox, accommodating the numerous love letters it receives.

• Fashion Influence: The enigma of the “Mona Lisa” has also permeated fashion, inspiring women to mimic her revered appearance and mysterious smile.

• Durability: Since its acquisition by France in 1797, the “Mona Lisa” has faced numerous attacks, including having spray paint and a teacup hurled at it in the early 20th century. More recently, in 2022, it was smeared with cake, and in 2024, it was splattered with soup. In 1956, it was targeted twice in one year, once with a razor blade and once with a rock. The latest incident involved two female protesters wearing “food counterattack” T-shirts throwing soup at the painting, now housed at the Louvre in central Paris. Fortunately, thanks to its protective glass shield, the painting remained undamaged.

• Protection: Since 1804, the “Mona Lisa” has been exhibited in the Louvre Museum in Paris, securely encased behind bulletproof glass. Before joining the museum’s collection, the painting was a part of the royal collection and transitioned to the possession of the French public during the Revolution (1787–99).

The “Mona Lisa” transcends its artistic mastery to become a global phenomenon, largely due to its dramatic theft in 1911. This event, coupled with its mysterious allure and Leonardo da Vinci’s craftsmanship, catapulted the painting into the limelight, transforming it from a revered artwork to a legendary icon. The intense media coverage and the intriguing recovery story have embedded it deeply in cultural consciousness, making it not just an artwork, but a symbol of art’s enduring power to captivate and provoke imagination. This saga reminds us of the irreplaceable value of art and its profound impact on our cultural heritage, ensuring the “Mona Lisa’s” legacy continues to intrigue and inspire.

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© 2026 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
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People often ask me whether art should be viewed as an investment. It’s usually framed as a financial question, but in practice, it rarely is. What people are really asking is whether the decision they’re about to make will continue to feel right years from now, once the excitement has faded and the work has simply become part of their daily life.

Art doesn’t behave like most things we buy. You don’t consume it or replace it easily. You live with it. You pass it in the morning, notice it out of the corner of your eye, and sometimes stop in front of it without meaning to. Over time, it becomes part of the environment you think and move within. That’s what complicates the idea of investment. The return isn’t only financial. It’s experiential, and it starts the moment the work enters your space.

When someone chooses to buy a painting, especially from a living artist, there is always a balance at play. Intuition matters. Connection matters. But awareness matters too. I’ve seen collections built quickly, driven by momentum or external validation, and I’ve seen collections built slowly, shaped by attention and patience. The latter tend to hold up better. Not just emotionally, but practically. Those works stay on the wall longer. They continue to feel relevant as life shifts around them.

Choosing work that actually stays with you

Art has a way of revealing things, sometimes gently, sometimes uncomfortably. The pieces we bring into our homes say something about what we value, what we’re drawn to, and what we’re willing to live with over time.

When considering a piece, it helps to think beyond how it looks in a single moment or how it might be perceived by others. Ask what kind of presence it brings into your space. Does it settle you. Does it hold a quiet tension. Does it invite reflection, or does it ask for energy you may not always have to give.

Not every meaningful response to art is immediate. Some works take time. Others feel right instantly but don’t last. That difference matters more than most people expect. The pieces that endure are often the ones that continue to offer something once the novelty wears off. Over time, those personal responses extend outward, shaping conversations with friends and family. Art creates dialogue, even when no one is actively talking about it.

Making room for what comes next

Relationships with artwork change. A piece that once felt essential may no longer fit your space, your life, or the direction your collection is moving in. That doesn’t diminish its value, and it doesn’t invalidate the decision to bring it into your home. It simply reflects growth.

For many collectors, making room isn’t about loss. It’s about clarity. Wall space is finite. Attention is finite. Creating space allows new work to be seen clearly, rather than layered on top of what no longer feels active in your life.

Sometimes that means moving a piece to another room. Sometimes it means passing it on within a family. Sometimes it means letting it leave your home entirely. What matters is that the decision is thoughtful, not reactive. Art carries meaning because it has been lived with, not because it has been held onto indefinitely.

Making room doesn’t erase what came before. It creates continuity. It acknowledges that collecting is not static, and that a living collection should be allowed to evolve alongside the person who lives with it.

Whether you are buying your first piece or refining a long-standing collection, collecting with intention is what endures. Support artists whose work continues to resonate with you. Learn about their practice. Live with the work long enough for it to become familiar, not just impressive.

Art isn’t valuable because it might increase in price. Its real value shows up over time, in how it lives with you, challenges you, and remains present as your life evolves. That’s the kind of investment that rarely fits neatly on a spreadsheet, but almost always holds up in real life.

Thank you for reading,
Jeff

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© 2026 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
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What’s always struck me is how differently people behave in spaces where art is present. Conversations slow. Rooms feel more considered. The atmosphere shifts in ways that furniture and architecture alone don’t quite achieve. Art doesn’t just occupy a wall in these settings. It quietly shapes how a business presents itself, both internally and outwardly.

Whether a company is refreshing a client-facing space, furnishing a boardroom, or opening a new location, the right artwork can establish a sense of intention and clarity that carries through the entire environment.

From the studio to the wall

I continue to work with collectors directly and closely with select Canadian galleries who represent my original paintings, and I value the role they play in placing work with collectors. Alongside that, I’ve developed a carefully considered offering of limited edition prints created specifically for professional and commercial spaces.

This is not a mass program or a decorative line. It’s a studio-led extension of my practice, designed for environments where originals are not always practical, or where visual consistency across multiple rooms or locations matters. Each edition is drawn from a completed original painting and produced with the same attention to colour, depth, and presence that guides my studio work.

When I work with businesses, designers, or developers, I approach the process the same way I approach a painting. Thoughtfully, clearly, and with close attention to how the work will live in the space over time.

Placing art in professional environments

Bringing art into a commercial setting is rarely about filling empty walls. It’s about understanding scale, rhythm, and how people move through a space day after day. A single statement piece can anchor a room. A curated series can establish continuity across offices, corridors, or meeting areas.

I offer a full-service approach that can range from individual placements to multi-room or multi-location projects. This includes a curated catalogue of museum-quality limited edition prints, signed and numbered, printed on canvas, museum fine art paper, or HD gloss metal. Custom sizing, framing, and coordinated delivery are available, and I work directly with business owners, architects, and interior designers to ensure the artwork supports both the function and intent of the space.

Every piece is produced and handled with the same standards I apply to my original paintings.

Why Canadian art matters in the workplace

There is also a practical dimension to choosing Canadian fine art. In Canada, businesses that acquire and display artwork created by Canadian citizens or permanent residents may be eligible for tax advantages under the Income Tax Act. These considerations don’t apply to artwork by artists of other nationalities.

For many organizations, this makes supporting Canadian art both culturally meaningful and financially sensible. Beyond any tax considerations, choosing Canadian work reflects a commitment to national creative culture and helps establish a more thoughtful, grounded working environment.

In these settings, art becomes part of how a business communicates its values, not just visually, but philosophically.

About the limited edition prints

Each limited edition print is based on a completed original painting and forms part of a long-standing body of work rooted in the Canadian landscape. These are not decorative reproductions. They are carefully translated works, colour-matched to archival standards and designed to retain depth, surface quality, and presence at scale.

Editions are limited, signed, and numbered, and can be framed or supplied rolled for installation. They can stand alone or be curated as part of a broader visual narrative across a space. Each piece is accompanied by documentation that provides context and authenticity.

For organizations seeking visual consistency, flexibility, and reduced logistics across multiple locations, limited edition prints offer a strong and practical solution.

Working alongside designers, developers, and galleries

I regularly collaborate with interior designers, architects, and galleries on corporate and institutional projects. These limited editions are not intended to replace original artwork shown through galleries. They exist as a complementary format, particularly when editions are preferred or when projects extend across multiple spaces.

If you are already working with a designer or gallery, I’m happy to coordinate alongside them to support the project.

Starting the conversation

If you are furnishing a professional space, developing a new project, or looking to bring meaningful Canadian art into the environments where people spend their working lives, I’d be happy to talk.

If you’d like to review a digital catalogue, discuss framing options, or talk through a specific space and goals, you’re welcome to reply here or contact me directly at www.JeffDillon.ca

Thank you for supporting Canadian artists, and for making room for thoughtful, lasting art in the places where work happens.

Jeff

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© 2026 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
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Bringing a new piece of art into your home usually creates a moment of pause. Not because something is wrong, but because the space has changed. A painting doesn’t just fill a wall. It introduces another presence into the room, and everything else has to renegotiate its place around it.

This is often where people feel uncertain. The art itself feels right, but the room feels slightly off. That tension isn’t a failure of placement. It’s the early stage of a relationship forming between the work and the space it’s entering.

Some pieces immediately declare themselves. They draw the eye the moment you enter a room and naturally become the visual anchor. These are often works with strong contrast, scale, or subject matter that carries weight. When this happens, the room tends to organize itself around the art rather than the art being adjusted to suit the room.

Other works operate differently. They don’t announce themselves right away. Instead, they reveal themselves over time, catching your attention in passing or changing character as the light shifts. These pieces often feel quieter, but they can be just as important. They shape how a space feels rather than how it looks at first glance.

Light is usually the deciding factor in whether a piece settles or struggles. A painting that feels flat under artificial light can come alive with natural daylight. Conversely, a work that feels energetic during the day may feel too active in the evening. This isn’t theoretical. It’s something you notice while living with the work, often days or weeks after it’s been hung.

Balance in a room becomes clearer once the art has been lived with for a while. If a space feels visually busy, it’s often because too many elements are competing for attention. Art doesn’t need to win that competition. It needs space to be seen clearly. Sometimes that means letting one work stand alone. Other times it means allowing distance between pieces so each one has its own presence.

Negative space plays a practical role here. Empty wall space isn’t wasted space. It allows the eye to rest and gives artwork clarity. When balance is right, the room stops asking for adjustment. You feel it immediately.

Living with art also means accepting that placement isn’t permanent. A piece that never quite settles in one room may feel completely resolved in another. This happens more often than people expect. Moving a painting isn’t a mistake. It’s part of understanding how it wants to live with you and how your space actually functions day to day.

These small shifts tend to sharpen a collector’s eye. You start noticing how scale affects mood, how colour interacts with light, and how certain works feel better in spaces where you spend more time rather than where guests will see them first.

Incorporating art into your home isn’t about achieving a finished look. Homes change. Light changes. Life changes. Art that lasts is art that can adapt to those shifts without losing its presence.

When art is allowed to lead, rather than simply fill a space, it becomes part of how a home works emotionally. It influences where you pause, where you look, and how a room feels when you return to it at the end of the day. That’s when art stops feeling like something you placed on a wall and starts feeling like something you live with.

Thank you for reading ☺

Jeff

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Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2026 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
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As the year moves, so does the light in a room. Morning sun arrives at a different angle. Evenings shorten or stretch. The colours outside the window cool or warm. A painting that once felt quiet can suddenly feel alive. Another that once carried energy may begin to feel heavy. This is often when people feel the subtle urge to shift something, without quite knowing why.

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Spring often brings a quiet sense of return. Light lasts longer. Windows open. Colours outside begin to reappear after months of restraint. Paintings with movement, openness, or a feeling of renewal tend to feel especially alive during this time. They seem to echo the energy of the season, not by depicting it directly, but by matching its pace and optimism.

Summer carries a different kind of presence. Days are fuller, brighter, and often busier. In summer, artwork can feel more energetic or expansive, able to hold its own in rooms filled with light and activity. Bolder colour, stronger contrast, or a sense of motion can feel natural here, not overwhelming, because the environment itself is already vibrant.

Fall introduces a noticeable shift. The light softens. Evenings arrive earlier. There’s often a natural pull toward warmth and reflection. Paintings with deeper tones, layered surfaces, or a sense of transition can feel especially appropriate during this season. Fall tends to heighten our awareness of change, and artwork that carries complexity or quiet tension often resonates more deeply then.

Winter is the most inward season of all. Spaces become quieter and more contained. Light is lower, and time indoors stretches longer. In winter, many people gravitate toward artwork that feels grounding or contemplative. Pieces that invite stillness or offer a sense of calm can become companions rather than focal points, holding space rather than demanding attention.

Holidays sit within this seasonal rhythm, carrying memory, familiarity, and emotion. Certain paintings seem to hold those moments better than others, not because they illustrate the season, but because they echo its emotional weight. Over time, you start to recognize which works feel right during these moments, and which ones quietly step back.

Rotating artwork through the year doesn’t need to be dramatic or constant. Even small changes can subtly alter how a room feels. More importantly, it keeps your relationship with the work active. Paintings stop becoming fixed background objects and return to being something you notice, something you live with.

Collecting original art is often thought of as a visual decision, but it’s just as much about experience. When a painting continues to feel relevant as the seasons change, it becomes part of the rhythm of your home, adapting as you do.

However you choose to live with art throughout the year, the most important thing is that it feels personal and true. When a piece continues to resonate across seasons, it becomes more than something on the wall. It becomes part of how you move through time.

thank you for reading ☺

Jeff

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Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2026 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
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Blue tends to slow things down. Not in a dramatic way, and not as a rule, but as a quiet shift in the background. A blue-forward painting often feels cooler in the space, even when the temperature hasn’t changed. It can make a room feel more spacious, more settled, and it can pull sharp edges out of the air, especially under softer evening light. In bright daylight, blue can look clean and crisp. In warmer lamplight, it can deepen and feel more layered. It’s a colour that rewards time, because it changes gently rather than suddenly.

Green rarely feels neutral, even when it’s calm. It has a way of suggesting growth, distance, and outdoors without needing to depict anything literal. In a home, green often sits comfortably with wood, plants, stone, and natural textures, which is part of why it integrates so easily. It can steady a space that feels too bright or too busy, and it can also sharpen attention in a subtle way, like a reset for the eye. Green is often at its best when it isn’t trying to dominate, when it’s allowed to hold the room quietly and let other colours play around it.

Yellow can lift a room quickly, sometimes faster than people expect. In smaller amounts it reads like light, like warmth, like a kind of openness. It can make darker corners feel less heavy and bring clarity to surrounding colours. But yellow is also sensitive. Too much of it in a confined space can start to feel restless, as if the colour has nowhere to land. The difference is often not the yellow itself, but the context around it, the wall colour, the furnishings, the time of day, the kind of light hitting the surface.

Orange and Brown has movement built into it. Even when it’s used softly, it tends to add a bit of energy to whatever sits near it, like a low hum in the room. It can feel generous, warm, and lively, and it often makes a space feel more social without trying. Orange changes character depending on the surrounding palette. Beside blues it can feel electric. Beside earth tones it can feel natural and grounded. In the right setting, orange doesn’t just brighten a room, it animates it.

Red carries the most immediate presence. It doesn’t usually wait for you to notice it. It enters the room and claims a certain amount of attention, even when it appears in small passages. Red can energize a space, sharpen focus, and create a sense of intensity, which can be exactly what some rooms need. But it can also raise the overall volume of a room if there’s already a lot going on. Red is a colour that benefits from placement and intention. Where it sits on the wall, what it’s paired with, and what kind of light is on it can change everything.

Teal sits between blue and green and tends to hold a room steady rather than calm or energize it. It carries a sense of balance, offering depth without heaviness and colour without urgency. Teal responds noticeably to light, feeling fresher in daylight and more contained under warmer evening light. It doesn’t dominate a space, but it rarely disappears, making it well suited to rooms where you want presence without pressure.

Pink is often misunderstood because people treat it as one thing. In practice it has range. Some pinks feel airy and gentle, almost like a softened light. Others feel bold and modern, and they can push a room in a more playful direction. Pink tends to react strongly to lighting. In warm light it can feel cozy, even quiet. In cool light it can become sharper and more graphic. It also changes depending on how much space you give it. A small amount can feel like a lift. A large field can become the atmosphere of the room.

Purple often reads as depth. It can feel contemplative without being heavy, and it can hold a room in a way that doesn’t depend on brightness. Purple tends to shift across the day. In natural light it may open up and feel more spacious. In dimmer light it can gather itself and become more intense. It also has a way of carrying mystery without needing symbols or drama, simply by the way it sits between warm and cool. In a room that feels too plain, purple can introduce complexity without chaos.

Multicoloured work behaves differently than single-colour dominance. Instead of steering mood in one direction, it creates movement. Your eye travels. The room stays awake, but not necessarily louder. A multicoloured painting can act like a kind of weather system on the wall, shifting depending on where you’re standing and what kind of light is in the space. It also tends to become a point of return. You notice different passages on different days, and the painting keeps giving you new places to look.

Colour isn’t the only thing at work, though. Shape matters. A painting built around softer, rounded forms often reads calmer than one built on sharp angles, even if the palette is similar. Subject can matter too, not as a message, but as an atmosphere. A quiet landscape gives the eye somewhere to rest. A storm scene keeps the eye moving. Colour works alongside these elements, not above them.

The longer you live with a painting, the more you notice that colour is not a switch. It’s a presence. It changes with light, with season, with what else is in the room, and with your own attention. And it does most of its work without asking to be analysed.

Thank you for reading.

Jeff

Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2026 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
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It rarely does.

I’ve watched paintings change completely once they leave the studio. Not because the work itself changed, but because the room did. A painting that felt calm can start to feel unsettled on the wall. Areas that once held together begin to drift apart. Other times, something finally falls into place, and the work reads more clearly than it ever did in the studio.

Light is usually the reason.

What surprises people is how little this has to do with buying the right fixture. It has much more to do with patience. With standing in the room longer than we’re used to. With paying attention to when a painting starts to feel strained and when it doesn’t.

The first thing I notice, almost without thinking about it anymore, is scale. Small works don’t respond well to being flooded with light. Large works often need more presence than people expect. Beyond that, everything gets murkier. Wall colour begins to matter. Ceiling height. Where the windows are. What time of day you’re usually in the room. The painting stops behaving like an isolated object and starts responding to the space around it.

This is why I usually suggest waiting before committing to anything permanent. Move the painting. Live with it for a few days. Look at it early in the morning, then again in the evening when the light drops and softens. There’s often a moment when something clicks, even if you can’t quite explain what changed.

Too much light strips colour away. Poorly placed light breaks up the surface, pulling attention to areas that were meant to work together. These are small shifts, but paintings react quickly to them.

A piece like Captivating, for example, doesn’t want to be spotlighted. It works best when the light is steady and consistent, present without calling attention to itself.

Artificial light complicates things further. The most common mistake I see is light coming straight down from overhead, as if the painting were a countertop. That kind of light almost always creates problems. Hard shadows. Glare across the surface. A feeling that the work is being examined rather than allowed to exist in the room.

Angling the light changes everything. It doesn’t need to be precise. It just needs to be considered. Floor lamps, table lamps, track lighting, ceiling fixtures. All of them can work when the light approaches the surface instead of pressing down on it.

High ceilings add another layer. Distance matters. A beam that’s too wide often loses its effect before it reaches the painting. A slightly stronger, more focused light can bring the work back into the space where it belongs. When this is done well, the light recedes and the painting becomes the first thing you notice. Follow the Sun holds its warmth best this way, supported quietly rather than competed with.

There are other tools, of course. Spotlights offer control. Picture-mounted lights can help define a piece within a larger wall. Battery-powered options work for some spaces, plug-in fixtures for others. None of these choices are inherently better. What matters is how the painting behaves once the light is on.

Colour temperature is one of those details people often overlook until they see it firsthand. Warmer light softens a painting. Cooler light sharpens it. Neither is right or wrong. A darker work like Dusk can shift noticeably with even a small change, sometimes gaining depth, sometimes losing it.

At a certain point, numbers stop being helpful. This is where trusting your eye matters more than specifications. Spend time with the work. Let it show you when it feels settled instead of trying to force it into a technical ideal.

Natural light is always part of the conversation, whether we plan for it or not. It moves throughout the day. It changes with the season. Sometimes that variation brings a quiet sense of life to a painting that artificial light can’t quite replicate. The only real caution is prolonged direct sunlight on the surface. Beyond that, diffused daylight often reveals details worth noticing.

There’s no formula for lighting artwork at home, and that’s probably why it’s worth thinking about at all. Every space asks for something slightly different. Every painting responds in its own way. Paying attention, making small adjustments, and giving yourself time to notice the changes usually leads somewhere better than chasing a perfect setup.

Paintings are meant to live with you. Finding the right light becomes part of that relationship.

Thanks for reading.

Jeff Dillon

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Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2026 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
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I am not an interior designer, but years of painting have taught me that proportion and placement carry weight. Where art sits in a room changes how it is seen and how it shapes the space around it. Light, furniture, and the flow of people all play a role in whether a piece feels like it belongs. Direction and shape also matter. A strong vertical can draw the eye upward and change the sense of height in a room. A horizontal piece can stretch a wall and give it calm. Even the movement within the painting itself can guide how the eye travels through the space. These details add up to more than decoration. They affect how the room feels when you step inside.

Finding Balance

Balance is not always about wide open space. Sometimes a wall framed by windows or trim gives you only a narrow area to work with, and that can make a grouping feel even stronger. In this case, three paintings together fill the space with colour and rhythm, turning what could have felt like a gap into a focal point.

I think about this while I paint as well. Even when space is tight, the right strokes placed together can carry energy and presence. In a room, just like on canvas, balance comes from how each element plays with the next, no matter how much room there is around them.

When a Painting Enters a Home

I’ve walked into rooms where the art was beautiful, yet something still felt unsettled. A canvas hung too high so no one connected with it. A smaller piece left alone on a wide wall seemed to vanish. Then I’ve seen the same works moved to a different spot, with better light or balance, and the whole room immediately felt different.

I am not an interior designer, but years of painting have taught me that proportion and placement carry weight. Where art sits in a room changes how it is seen and how it shapes the space around it. Light, furniture, and the way people move through the room all influence whether a piece feels at home.

Choosing a Role for the Artwork

Every new piece has a role to play. Some paintings thrive as the centre of attention. A wide seascape above a fireplace can anchor an entire room. Other works are quieter. A small piece in a hallway might not demand notice, yet it becomes a moment you return to every time you walk past.

Part of the decision is asking what you want the artwork to do. Should it be the focal point, or part of a group that speaks together? Neither is better, but each sets a tone. When the role of a piece is clear, the rest of the room often starts to fall into place around it.

The Power of Placement

Light, height, and proportion shape how art is experienced. Natural light can bring out colour and texture in the morning and soften them by evening. Spotlights can reveal details that go unnoticed during the day. Even a few inches higher or lower on the wall can change how connected a painting feels.

Eye-level placement is a good place to start, but instinct matters. Sometimes lowering a piece makes a room feel grounded. Sometimes placing it slightly off-centre brings energy. Placement is less about strict rules and more about noticing how the space responds.

Letting the Room Breathe

Living with art should be enjoyable. I often encourage collectors to move pieces until they feel right. Try a new wall, sit with it, and watch how it looks through the day. Some works seem to call for light. Others feel better in quiet corners.

The most important thing is that the artwork feels at home. Intuition guides these decisions more reliably than any set of instructions. If the placement feels natural, it usually is.

Incorporating art into a home is not about filling empty walls. It is about creating an environment that feels intentional and connected. A painting placed with care can change the character of a room and, in turn, the way you experience it.

I am not an expert in décor, but colour, proportion, and balance are at the core of what I do as a painter. That perspective has shown me that placement can be just as important as the artwork itself. When art finds its place, the room becomes more than a space to live in. It becomes part of your story.

Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok • Bluesky • Substack

In this post I’ll share how I approach scale and ratio, and how to find the right fit so your artwork feels like it belongs. I’ve included more images than usual to give you a visual sense of how size changes a room, showing the difference between pieces that disappear, dominate, or bring harmony.

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Why Size Matters

Picture a bold landscape above a mantel. Too small, and it disappears into the wall, more like decoration than presence. Too large, and it swallows the room, leaving little space for anything else to breathe. The right size lives in between, strong enough to command attention but balanced enough to feel part of the room.

It isn’t only about the measurements of the wall. It’s also about what you want the art to do. Should it be a focal point that commands attention the moment you enter? Or should it be a piece that enriches the environment more quietly, supporting the overall tone of the room? Both choices are valid, but each depends on choosing the right dimensions.

Personally, I love large statement pieces that feel immersive. When you stand in front of them, the room almost falls away and the painting pulls you in. Smaller works, by contrast, invite intimacy. They encourage closer looking. The scale sets the kind of conversation you and your visitors will have with the artwork.

Understanding Ratios and Dimensions

Every painting carries its own ratio, the relationship of height to width. This matters because it preserves the balance of the composition. Changing ratios through cropping or distortion alters the integrity of the image. That is why my limited edition prints are always produced in the exact ratio of the original painting.

Here are the most common ratios and how they interact with space:

• 1:1 (Square): Balanced and versatile. Works beautifully in both small spaces and as large statement pieces. Available in a wide range, from 16×16 up to 48×48.

• 3:2 and 4:3 (Rectangular): The most traditional formats. They suit landscapes, portraits, or scenes that work in either vertical or horizontal orientation.

• 16:9 (Panoramic): Perfect above a sofa, bed, or fireplace. Wide and immersive, it fills space horizontally without requiring extra height.

• Circular works: Less common but striking, often creating a unique focal point. Currently, I have not painted any work that is circular.

On my website, you’ll find a filter that lets you browse by orientation or ratio. This makes it easier to match the proportions of the wall you’re working with. For example, a narrow vertical wall may call for a portrait ratio, while a wide living room might need a panoramic piece that spreads across the space.

Choosing Art to Fit Your Space

Start with measurements. Knowing the width and height of the wall gives you a framework to work within. For instance, a wall that’s 75 by 35 inches would feel best with a painting that fills most of that width without overwhelming the height.

Consider the architecture around the art. Above furniture, such as sofas, beds, or mantels, height is often limited. This is where panoramic ratios shine. They emphasize width and create presence without pushing against ceilings or crowding vertical space

Think about the role the artwork should play. Do you want it to be the centrepiece, or part of a gallery wall where multiple works speak together? Both can be powerful, but each depends on proportion. Using ratios as a guide will help you narrow the options so that the piece feels like it was made for the room.

Art can also extend beyond interiors. My gloss metal prints are designed to thrive outdoors as well as inside. Because the image is infused directly into the surface of the panel, they are waterproof, scratch-resistant, and UV-protected. They won’t warp or fade in sunlight, and they’re easy to clean, which makes them a striking option for patios, gardens, or outdoor business settings where durability and presence matter just as much as appearance.

Framing and Spacing

The final step is how the piece is placed. Leaving six to twelve inches of breathing room around the edges helps prevent the wall from feeling crowded. This spacing is especially important when the work is above furniture. It ensures the piece feels centered and intentional.

Framing is also part of scale. A black gloss floater frame on a canvas print, for example, extends the edges outward and makes the work feel more substantial. A thin frame on a paper print might keep the emphasis squarely on the image itself. These choices all affect how the art interacts with the room.

About My Limited Edition Prints

Every print I create is designed to preserve the integrity of the original painting. They are produced in the same ratio, with no cropping or resizing.

• Canvas Prints: Offered either rolled with an extra three inches for stretching, or pre-stretched and ready to hang. Optional black gloss floater frames add 0.75 inches to each side.

• Museum Paper: Archival cotton paper, matte finish, with a half-inch white border for framing.

• Gloss Metal Prints: Durable and striking, infused into the surface of an aluminum panel. Scratch-resistant, UV-resistant, and suitable for both indoor and outdoor display.

Every limited edition print comes signed, numbered, and accompanied by a Certificate of Authenticity. Orders are tracked and typically arrive within 3 to 10 business days.

The right size of artwork does more than complete a wall. It sets balance in a room, creates a sense of intention, and often becomes the detail people remember most about a space. By thinking about ratios, scale, and placement, you give the art the chance to work as it was meant to, and you give the room the presence it deserves.

To explore original paintings and limited edition prints created in a range of ratios and dimensions, visit JeffDillon.ca.

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Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok • Bluesky • Substack

I was in my early thirties. I hadn’t truly started painting yet, at least not in the way I think about it now. Just a few pieces here and there. A lot of half-finished drawings in sketchbooks. It felt like a quiet pastime. A hobby. Something I did between things, or on vacation, or when I was bored.

I don’t remember exactly what he said when I showed him this painting, but I could tell he liked it. He had liked the handful I had done before too, the few scattered between when I was thirteen and that point in my life. He wasn’t sick yet. But I remember that moment clearly.

It mattered to me to show him what I had made. I wanted his approval. I always did. I think no matter how old you are, that part of you stays. You want your parents to see you and to be proud.

Not long after that, everything changed. He got sick, and it was the kind of sickness you don’t recover from. Toward the end of his life, when his world was getting smaller and mine was about to change forever, he said something to me that stayed with me. He told me that life is short, and that I should pick one thing. He was someone whose advice I always listened to. Both my parents have always had a way of giving me the right words at the right time. I didn’t know how much I needed to hear it that day, or the weight of what it would mean later.

He knew I had many interests, and that I often pulled myself in too many directions. I can’t know for sure, but I think in that moment he was reflecting on his own life—what he had done, what he would leave behind, and what he hoped I might carry forward.

He looked at me and said, “you should paint."

I didn’t make the decision right then. At the time, I was taking in everything about him: his voice, his presence, the way he looked when he spoke. His advice became part of that moment, no different from the image of him I was trying to burn into my memory. But after he passed, painting was the only thing that made sense. It gave me a way to process the grief. It was quiet and allowed me to sit alone with my thoughts, to let time pass without meaning. I didn’t realize it then, but it gave me something to hold on to - something steady, something I could build from. It helped me create meaning and structure out of what had felt like chaos, and it became the beginning of a legacy.

I was listening to a story about an artist and his legacy of creating one hundred paintings in his lifetime. While I was painting, I thought to myself, that seems possible. So I made a promise. I would create one hundred paintings in five years. I wasn’t focused on a certain style, and I didn’t have any other goal except to finish the hundred. I broke it down and figured that twenty paintings a year seemed doable, especially since most of my paintings at the time were fairly small.

But it wasn’t as easy as I had imagined. The painting itself wasn’t the hard part, it was finding the time. I had a full-time job and a busy life, but I didn’t really feel like doing anything else. I needed the time, and I was willing to make space for it. So I committed to a daily practice at night. It felt like the only way it could happen: two to three hours a day, every day, no matter what. I started painting in my bedroom and often worked late into the night past midnight.

In the beginning, it was about mourning. I just needed the space, and painting gave me that. It was something about the action itself, the quiet rhythm of mixing the paint, putting it onto canvas, and watching what it did. It felt meditative. It had nothing to do with discipline at first, but the discipline was already in place. Over time, it began to shift. Slowly, painting became something else.

I had always been interested in art, but what was happening during those quiet hours was something different. I was becoming an artist. Someone willing to dedicate their life to a single practice.

When I painted Lost, I didn’t know it would be the last painting he would ever see. And I didn’t have a moment where I suddenly felt like an artist. It wasn’t one painting that did that. It came later, when I looked back at everything I had created and realized something had changed. Something had taken shape through the work itself.

Since then, I have painted nearly three hundred paintings. He never saw any of them. All of the growth, the shows, the milestones, the new studio space, the recognition, and the small moments that have meant everything to me. He missed all of it.

But my mother has been here through it all. Her encouragement has been steady and real. She tells me when a painting moves her. She shows up at my art exhibits. She shares my work with people online, and she never lets me forget how proud she is. She has also purchased some of my paintings and proudly displays them in her home. As her son, there’s something deeply meaningful about that. It’s quiet, personal, and says more than words ever could.

That kind of support is hard to describe, but it has shaped everything. I would not be here without her.

Lost hangs in my new studio. It is not my best work, but it is one of the most important. It was a step and one of most important steps. It reminds me of the beginning. Of a time when none of this felt possible. Of my father saying said, “you should paint." And of a promise still held today that still lives in everything I paint.

We were very close, and we were good friends.
I wish he could see what came next.
I wish we had more time.
But I’m grateful for the time we had.

And a part of me believes he knows.

Thank you, Dad.
Thank you, Mom.
I love you both.

— Jeff

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok• Bluesky • Substack

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An accidental discovery

In 2009, chemist Mas Subramanian and his graduate student Andrew Smith at Oregon State University were not looking for a colour at all. Their work was focused on electronic materials, experimenting with combinations of elements that might improve conductivity. In the middle of that research, a sample came out of the furnace with an unexpected result: a fragment of crystal glowing in a vivid, almost impossible blue.

The elements responsible were yttrium, indium, and manganese. Together they formed a crystal structure that reflected light in a way no one had seen before. The colour was not a subtle shift or a variation on something familiar. It was entirely new. Stable under heat, safe to handle, and visually intense, it stood apart from the fragile blues of the past that often faded, darkened, or carried toxicity.

That accident marked the beginning of the first new inorganic blue in more than two centuries. What had started as a materials experiment quickly revealed itself as something larger—a pigment that would reshape both colour science and the possibilities available to artists.

What makes this blue different

Plenty of pigments look beautiful in a swatch. Not many stay that way over time. YInMn Blue stands out because of how its structure behaves. Manganese ions arranged just so create a deep, clean hue that reads as a true blue rather than sliding toward violet or green. The same structure reflects near-infrared light, so surfaces painted with it stay cooler in the sun. That matters in coatings and architecture, and it matters to artists who want permanence. On the palette, it lives between ultramarine and cobalt, with the warmth and opacity that make skies, water, and shadow feel grounded, not fragile.

Scarcity and value

This pigment is rare because the materials required are costly and production remains limited. For years it was locked away in laboratories and industry. When small batches finally reached artists, the price reflected that scarcity. A single tube can cost several times more than what most of us already consider expensive paint. When I managed to secure four tubes, it felt like holding a piece of history. Centuries ago, ultramarine was ground from lapis mined in distant mountains and reserved only for the most significant works. YInMn Blue carries that same sense of rarity, shaped not by ancient trade but by modern science.

Why it matters in my studio

Original Paintings by Jeff Dillon

My work depends on colour. Movement, memory, and feeling all come through the pigments I use. A new blue with depth and permanence opens possibilities I did not have before. When I first opened a tube, I thought of Picasso’s Blue Period and the limits of the pigments available to him. Ideas drive the work, but materials shape it just as much.

In my paintings, this blue is not a novelty. I see it in skies that still hold light. In water with weight and gravity. In abstract passages where clarity matters most. It gives me a register I could not reach until now.

The reach of this pigment goes further than the studio. Its reflective qualities make it useful in design, where cooler surfaces can lower energy use. The same research that created this blue has already led to new greens, purples, and oranges built on the same structure. Few colours move so easily between science, art, and the built environment. YInMn Blue does.

Notes for collectors
If you enjoy the art side of painting and want to understand how materials change the work, I put together a Fine Art Print Sample Pack that compares museum paper, canvas, and professional, archival-quality dye-sublimation metal panels. It ships free worldwide and pairs well with an eGift card for someone choosing their first piece. If you have questions about materials or framing, reply to this post and I will help.

P.S. If you want to see where this blue lands first, subscribe for the studio note. If you know someone who loves colour, share this with them and tell me what blue you keep returning to in your own life.

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For more information, please check out these links:

https://chemistry.oregonstate.edu/chemistry-news-events/yinmn-blue
https://justpaint.org/yinmn-blue/
https://goldenartistcolors.com/news/new-yinmn-blue
https://www.facebook.com/watch/?v=405127556741940
https://en.wikipedia.org/wiki/YInMn_Blue

…And if you love colour as much as me, I highly recommend this book:

“The Secret Lives of Color” by Kassia St Clair

The Secret Lives of Color tells the unusual stories of seventy-five fascinating shades, dyes and hues. From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso’s blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history.

In this book, Kassia St. Clair has turned her lifelong obsession with colours and where they come from (whether Van Gogh’s chrome yellow sunflowers or punk’s fluorescent pink) into a unique study of human civilization. Across fashion and politics, art and war, the secret lives of colour tell the vivid story of our culture.

Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok • Bluesky • Substack

Monet: The Triumph of Impressionism by Daniel Wildenstein
A beautifully produced book tracing Claude Monet’s artistic evolution from his early fascination with Japanese prints to the luminous water lilies of Giverny. If you’ve ever felt captivated by how light transforms a painting, this offers a powerful look at how Monet studied, understood, and mastered it.

The Secret Lives of Colour by Kassia St. Clair
Amazing! This book is a vibrant exploration of 75 remarkable shades and the stories behind them. From the charcoal that lines ancient cave walls to the acid yellow of punk rebellion, it weaves colour into the fabric of human history. Whether it’s the brown that changed military tactics, the white that fought off plague, or the blue that shaped Picasso’s art, each chapter opens a surprising window into how colour has influenced art, politics, fashion, and culture. If you’re drawn to the meaning behind pigments and how they’ve shaped the way we see the world this one’s a standout.

Van Gogh: The Life by Steven Naifeh and Gregory White Smith
An in-depth, definitive biography of Vincent van Gogh, more than ten years in the making. Widely regarded as one of the most comprehensive accounts of his life, this book offers a richly detailed portrait of the artist his struggles, his intensity, and the creative drive that shaped his work. If you’ve ever wanted to understand van Gogh beyond the myth, this is essential reading.

The Group of Seven and Tom Thomson: A Data-Driven History by David Silcox and Harold Town
This book offers a compelling deep dive into the Group of Seven through both narrative and data. It maps out their exhibitions, critical reception, and evolving styles with clarity and precision. For anyone interested in Canadian landscape painting, it’s an insightful and structured look at how these artists helped define a national art movement.

The Yellow House by Martin Gayford
Set during the intense weeks Van Gogh and Gauguin lived and worked together in Arles, this is a compelling look at creativity under pressure. Gayford explores the fragile partnership between two visionary but volatile artists, revealing how their contrasting styles and personalities shaped their time together and their work. A vivid account of art, conflict, and the pursuit of meaning on canvas.

Sunflowers: The Story of Vincent Van Gogh’s Masterpiece by Sherry Marker
A concise yet compelling exploration of how Sunflowers came to define Van Gogh’s legacy. This book traces the painting’s origins, meaning, and rise to iconic status, offering insight into both the artist’s process and the enduring power of a single image. Perfect for anyone who feels a connection to Van Gogh’s work and wants to understand one of his most celebrated pieces more deeply.

The Art of Emily Carr by Doris Shadbolt
Emily Carr’s deep connection to the Canadian wilderness has always stayed with me. This book offers a thoughtful and comprehensive look at her life her early struggles, her spiritual relationship with nature, and her time spent immersed in the forests and Indigenous cultures of British Columbia. Shadbolt traces Carr’s artistic evolution, from her early work shaped by European influence to the powerful, expressive style that became uniquely her own. Through essays, reproductions, and personal reflections, the book reveals the solitude, vision, and courage that defined her practice. If you’re drawn to art that’s rooted in place and spirit, this is a moving and essential read.

The Idea of North: The Paintings of Lawren Harris by Gregory Ballantyne
There’s a quiet, spiritual clarity in Lawren Harris’s Arctic and northern landscapes that continues to stay with me. This book gathers many of those iconic works and pairs them with reflections on his personal journey from the early days of the Group of Seven to his later, more abstract explorations. It also touches on his deep interest in theosophy and how that shaped both his worldview and his approach to painting. If you’ve ever stood in front of one of his canvases at the McMichael or the AGO and felt something beyond the image, this book helps articulate why.

A Note on My Own Book
My first book featuring 67 of 100 paintings from my early body of work created between 2011 and 2016 it is now sold out, with 500 copies out in the world. It marked an important step in documenting the first 100 paintings of my journey. Thank you to everyone who’s picked one up over the years.

The next book is planned for release in 2025/2026 more on that soon ☺

These are just a few of the books that have stayed with me—helping me understand not just how art is made, but why it matters. They’ve shaped the way I see, think, and paint. If there’s an art book that’s meant something to you, I’d be glad to hear about it.

Thanks for reading,
Jeff

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© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok• Bluesky • Substack

Art does more than fill a wall. It creates an atmosphere that employees feel every day, shaping the working environment and contributing to a stronger sense of culture. The right piece can reinforce a company’s identity, set a theme that welcomes clients, and elevate the overall professionalism of a space. Whether in a boardroom, a lobby, or a workspace, art communicates values that words alone cannot.

This post will walk you through how it works, what the Canada Revenue Agency requires, and why adding Canadian art to your business setting is both a cultural and financial investment.

Why Consider Canadian Art for Your Business

Art has the power to transform the character of a room. A boardroom or lobby with original art carries a presence that an empty wall never can. It sets a tone that clients, visitors, and employees notice immediately, creating an atmosphere that feels both professional and welcoming.

Beyond its visual presence, Canadian art is increasingly recognized as a meaningful investment. Institutions like the Vancouver International Airport, which features more than 200 works of Canadian art, demonstrate how collecting can elevate a space, strengthen identity, and reflect a genuine commitment to culture. For businesses of any size, adding art is not just decoration. It is a statement about who you are and how you choose to be seen.

Tax Incentives for Art Investments

The Canada Revenue Agency (CRA) allows businesses to treat Canadian artworks as a capital expense when certain criteria are met. This applies to both corporations and individuals operating businesses.

• Artworks valued at $200 or more are considered Class 8 capital property and can be depreciated at 20% per year under the Capital Cost Allowance (CCA).

• Artworks valued under $200 are Class 12 property and qualify for a full deduction in the year of purchase.

• Rented artworks are deductible as a standard business expense.

This makes Canadian art one of the rare expenses that delivers both financial and cultural value. The benefit is not only in the deduction, but in how the art itself enriches the environment where you work, meet clients, and build relationships.

Criteria for Tax Deductions

To qualify for these incentives, artwork must meet the following conditions:

• The work must be created by a Canadian artist (citizen or permanent resident at the time).

• The purchase price must be at least $200 for Class 8 treatment.

• The artwork must be displayed in a business space where clients or visitors can see it, with the purpose of supporting business activity.

• Purchases must be made at arm’s length and not from a related party.

• GST and QST registrants can recover sales taxes paid by claiming input tax credits.

Meeting these requirements ensures compliance, but it also highlights the deeper point. Art should be visible, present, and experienced in the flow of daily business. When it is part of the space, it speaks to clients, inspires employees, and reinforces the culture you want to build.

Selling the Artwork

Like other capital property, artwork has tax consequences when sold.

• If it is sold for less than its remaining undepreciated balance, the difference can be claimed as a terminal loss.

• If it is sold for more than its original purchase price, the amounts previously deducted through CCA will be recaptured and treated as business income.

• Any profit above that amount is treated as a capital gain.

Even here, the story is more than financial. A well-chosen piece of Canadian art can grow in both cultural and monetary value over time. When it leaves your walls, it carries your history of supporting Canadian artists and enhancing your space, leaving behind a legacy of culture as well as a financial return.

Beyond Tax Benefits

When art is part of a business space, it does more than meet CRA’s requirements. It creates a presence that people feel the moment they enter. In a law office or clinic waiting room, it brings calm and reassurance. In a boardroom, it reflects professionalism and culture. In a home office where clients are received, it becomes part of how you are seen on every call or meeting. It also shapes the environment for employees, building culture, setting tone, and adding meaning to the daily rhythm of work.

The tax benefit is real, but the greater return comes from the way art changes how people feel in your space. It influences atmosphere, reinforces identity, and creates an experience that lasts long after the numbers are filed.

Canadian art offers businesses a rare combination of culture, investment, and financial benefit. It elevates the environment, supports Canadian artists, and qualifies for meaningful tax incentives under CRA rules.

I recommend speaking with a Chartered Professional Accountant (CPA) to understand how the details apply to your situation and to ensure you maximize your deductions.

For businesses and professionals looking to add Canadian art to their spaces, I offer a collection of original paintings and limited edition prints at JeffDillon.ca. Each piece is created with the highest quality materials and comes with a Certificate of Authenticity. Whether you are enriching a home office, elevating a workplace, or making an investment in Canadian culture, my work is available to collectors worldwide.

Note: This article is for general understanding and should not be taken as tax advice. Please consult with a CPA for guidance that applies to your circumstances.
CRA reference : https://www.canada.ca/en/revenue-agency/services/tax/businesses/topics/sole-proprietorships-partnerships/business-expenses.html

To-Do List: Navigating Tax Incentives for Canadian Art Investments

• Recognize the dual value of Canadian art: cultural and financial.

• See how institutions like Vancouver International Airport use art to transform their spaces.

• Understand the CRA’s tax advantages for businesses that collect Canadian art.

• Ensure the artist is Canadian to qualify.

• Confirm the purchase price is at least $200 for Class 8 treatment.

• For pieces under $200, claim a one-time Class 12 deduction.

• Display art in a business setting where clients can see it.

• Claim input tax credits if GST/QST registered.

• Review deductions for renting art as a business expense.

• Be aware of the rules for selling artwork, including recapture and capital gains.

• Consult a CPA before making purchases to maximize the benefits.

• Explore Canadian art for your space at www.JeffDillon.ca

There countless commercial settings that come alive with art, from boardrooms and medical offices to restaurants, hotels, and home workspaces where clients are received. Each space gains character, professionalism, and a sense of culture when original art is on the walls.

Here are a few samples:

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Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok • Bluesky • Substack

This post is meant to serve as a guide for collectors. Here’s what you’ll find inside:

• How my prints are created and the care that goes into them

• The differences between canvas, paper, and metal editions

• Detailed specifications for each material

• Frequently asked questions about ordering, shipping, authenticity, and value

Whether you’re adding your first piece or building a collection, this will give you a clear picture of what to expect.

How My Prints Are Made

I work with a professional photographer to capture each painting in high resolution. Every detail matters, brushwork, light, and texture are carefully photographed and colour-matched against the original. This ensures the final reproduction feels faithful to what I painted in the studio.

From there, prints are created on artist-selected materials using archival inks and finishes designed to last for generations.

Once the artwork has been photographed and prepared, the next step is choosing the right material. The surface you select will shape how the image feels in your space. Each option, canvas, paper, or metal, offers its own character, from the soft texture of woven canvas to the sleek brightness of fine art paper, to the luminous depth of metal.

To help collectors experience these differences before deciding, I created the Fine Art Print Sample Pack. It includes samples of all three materials, featuring my painting #246 Northern Light Magic. This gives you the chance to see the finishes and textures up close, so there is no guesswork when choosing the right piece for your collection. The pack ships free worldwide and can be paired with an eGift card, making it a thoughtful gift for someone who loves art.

Canvas Prints

Canvas prints bring a textured, painterly quality that feels close to the original. They arrive stretched on a wooden frame and ready to hang. The surface has a soft woven texture, finished with a protective semi-gloss coating to ensure deep blacks and rich colour.

Canvas specifications:

• 65/35 polyester–cotton blend, 1:1 weave

• Waterfast, fast-drying, no edge cracking

• 17 mil, 370 g/m² weight

• Protective glossy finish

• Ready to hang with black-wrapped edges, 1.75" deep

• Optional black gloss floater frame (adds 0.75" to each side)

Canvas prints are durable, but like all artwork, they should be handled with care. The surface can mark if scratched.

Fine Art Museum Paper Prints

Paper prints offer a sleek, smooth finish with vibrant colours. They are shipped rolled in a protective tube and will need to be framed once they arrive. For best results, I recommend anti-reflective glass for framing, which allows over 97% light transmission and reduces reflections to less than 1%. This makes the colours brighter and the viewing experience clearer.

Paper specifications:

• 95 bright white, cellulose-based paper

• Thickness: 10 mil

• Wet-strength and water-resistant (no lamination needed)

• 17–22% post-consumer waste, PVC- and phthalate-free

• FSC Certified

• Indoor or temporary outdoor durability

• Includes a half-inch white border for framing

Gloss Metal Prints

Metal prints offer something entirely different from canvas or paper. The image is infused directly into a professional, archival-quality dye-sublimation metal panel. The result is sharp detail, vivid colour, and a glossy finish that gives the artwork a striking, almost luminous presence.

They are also incredibly durable, scratch-resistant, waterproof, UV-resistant, and flame-tested for safety. Metal prints arrive ready to hang with a recessed float frame and wire, giving the impression that the piece floats slightly off the wall. For outdoor display, a mounting bar is available to provide stability against wind.

Metal specifications:

• Archival-quality dye-sublimation on aluminum panels

• High gloss finish for vivid colour and depth

• Scratch-resistant, waterproof, UV-resistant

• Flame-tested to ASTM standards

• Lightweight, easy to hang with recessed float frame

• Maximum size: 40 x 60 inches, 0.045" (1.14mm) thick panel (+ 0.75" for hidden frame)

• Packaged in protective foam and boxed securely for delivery

FAQs

Ordering and Customization

Can I order a custom size?
In some cases, yes. Larger custom prints may be available depending on the painting. Contact me directly to discuss your project.

Can I request a specific edition number?
No. Prints are produced sequentially as they are ordered, and the system tracks numbering automatically. This ensures consistency and accuracy for all collectors.

Can I get framing?
Canvas prints can be ordered with an optional black gloss floater frame, which increases the outside dimension by 0.75 inches on all sides. Paper prints do not ship framed, since glass is too fragile for transit.

Production and Shipping

How long before they ship?
Each print is custom made to order. Production usually takes between 2 and 3 weeks, although paper prints may be ready sooner. If you select a float frame for a canvas print, you can expect production to be closer to the three-week mark before it ships. If you require a piece for a special occasion, please reach out to me in advance by email or phone, and I will do everything possible to accommodate your request.

How are prints packaged?

• Canvas: bubble wrapped and boxed in heavy-duty commercial shipping material

• Paper: rolled with protective cover paper and shipped in a commercial mailing tube

• Metal: wrapped in protective foam for maximum protection, then boxed securely for delivery

Is shipping tracked?
Yes. You’ll receive tracking information by email once the package is scanned by the shipping company.

How long does delivery take?
Most North American orders arrive in 3–5 business days once shipped. International orders typically arrive in 5–10 business days, though customs and carriers can sometimes cause delays.

Do you ship worldwide?
Yes, I ship to collectors anywhere in the world.

Display and Care

Are they ready to hang?

• Canvas: arrive stretched on a wooden frame and ready to hang

• Paper: will need to be framed before display

• Metal: available with two options: indoor hanging with a wire, or outdoor hanging with a mounting bar designed to withstand wind

How do I care for my prints?
Please see my separate guide on caring for Limited Edition Fine Art Prints [link to blog].

Authenticity and Value

Are the prints signed?
Yes. Every limited edition print is accompanied by a hand-signed and individually numbered Certificate of Authenticity. This document records the print details and date, serving as proof of its originality and value. Collectors are encouraged to keep the certificate with their records, as it is an important part of the work’s provenance.

Will they increase in value?
Limited edition prints often appreciate over time. As an edition sells through, the rarity of the remaining works can lead to higher value, especially in the secondary market. This exclusivity is what sets limited editions apart from open editions, where the number of prints is unlimited and the scarcity and potential for appreciation does not exist.

What is the difference between open and limited editions?
Jeff Dillon Fine Art only produces limited edition prints. Limited editions are capped at a fixed number, making them more rare and collectible. Open editions have no limit on the number of prints produced and do not carry the same exclusivity.

Payment

What payment methods do you accept?
I accept a range of secure payment options for your convenience:

• Visa

• Mastercard

• PayPal

• Apple Pay

• Google Pay

• American Express (available through PayPal)

• Discover (available through PayPal)

• Visa Debit

• Mastercard Debit

My Promise to You

Collectors often tell me that owning a print feels like living with the original work itself. That response is deeply meaningful to me, because it is exactly what I strive for. Each edition begins with professional photography to capture every nuance of the painting, then is produced using the finest materials I can source to match the depth and richness of the original. What you receive carries not only the image, but also the same care, detail, and intention that goes into every painting I create.

If you have questions not covered here, you can reach me directly through my website. I’ll be glad to help

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Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok • Bluesky • Substack

I put a lot of thought into how my prints are produced. I work with professional photographers to capture every detail of the original, and I choose only archival materials that are made to last. Still, once a print leaves my studio, its future depends on how it is treated. A print can hold its richness and beauty for decades, or it can fade, warp, or crack if it is neglected. My goal with this guide is to share what I’ve learned so that your prints stay with you, and maybe even with your family, long into the future.

Lighting

Light is what makes art come alive, but it is also what can do the most harm. Direct sunlight will eventually fade any surface, even with the protective coatings I use on canvas. The safest place for your print is somewhere it receives soft, indirect light.

A canvas or paper print in direct sunlight every day will begin to lose its depth over the years. The blacks, reds and blues will fade first. Even with archival inks and coatings, there is no way to completely stop this process if the print is constantly exposed. For this reason, I always recommend hanging work in a spot where natural light is filtered, or where the light shifts gently throughout the day.

If you want to highlight your piece, consider LED lighting. LEDs give off very little heat and no ultraviolet rays, which makes them safe for art. They also create a clean, even glow that helps bring out the richness of colour without shortening the life of the print.

General Care

Start by thinking about where the print will live. Canvas prints look good in almost any room, but some places are better than others. A wall where people brush past every day is not ideal. A spot in a living room, bedroom, or office where the work can be admired without constant contact is far safer.

Avoid hanging prints in areas with a lot of heat or moisture without ventilation, like kitchens and bathrooms. Over time, steam and grease in the air can settle on the surface and cause damage that can’t be undone. Dry, temperate rooms are always best.

If you treat your prints with the same care you would a well-made piece of furniture or a book you want to pass on, they will reward you by lasting for many years.

Handling

Handling prints properly is one of the easiest ways to avoid unnecessary damage. Always lift a canvas by its edges or frame, never by the surface. If you touch the face of the print, even once, the oils from your skin can leave a mark that becomes visible over time.

When possible, wear clean white cotton gloves. This is the same practice used in museums and galleries when artwork is moved. It may feel formal at first, but it protects the surface and edges of the print.

Never place a canvas face down on the floor or a table. Even a smooth surface can dent or scratch the coating. And do not stack anything on top of the artwork. Prints are not designed to bear weight, and the pressure will eventually leave an impression.

If you are moving a print from one location to another, prepare the new spot before lifting the piece. That way you never have to set it down somewhere unsafe while you figure out where it goes.

Cleaning

Prints require very little cleaning if they are displayed in the right place. A soft, dry, lint-free cloth is usually enough to remove dust. Wipe gently, always in one direction, and avoid rubbing.

Never use water, solvents, or household cleaning products. On paper, even a single drop of water will leave a permanent mark. On canvas, moisture can stain or weaken the coating. On metal, liquid can seep into the edges of the frame. Once this happens, it cannot be undone.

If more dust has settled than you can remove with a cloth, a soft brush such as a clean feather duster can be used. Take your time. The key is to prevent damage rather than trying to fix it afterward.

Canvas Construction and Care

All of my canvas prints are stretched on rounded-edge stretcher bars. This allows the canvas to roll gently over the frame instead of bending over a sharp corner, which helps prevent cracking and sagging in the future. On larger pieces, I use cross braces for extra stability.

Canvas is a living material in the sense that it reacts to the environment. If the air is too humid, it can loosen. If the air is too dry, it can tighten and even crack. These changes are natural, but they can be minimized if the print is kept in a stable space. A room that stays between 18 to 24 °C (64 to 75 °F), with humidity around 50 percent, is ideal.

If sagging ever does occur, sometimes a professional can correct it by re-stretching the canvas. But the best approach is to prevent the problem by keeping the environment consistent from the beginning.

Storage

When storing artwork, treat it as carefully as when it is on display. Keep the temperature and humidity stable. Avoid attics, basements, or garages where the air changes quickly with the seasons.

Store canvases upright, never flat, and never stack them on one another without protective layers in between. Paper prints and rolled canvases should be placed in acid-free tubes or sleeves, with archival dividers. Metal prints should also be stored upright with padding around them to avoid scratches and denting the corners or edges. And never try to remove wrinkles in a canvas by steaming or ironing the back. This almost always causes more damage than it solves.

About Jeff Dillon Fine Art Prints

The quality of the materials is what allows prints to last. Every print is created with top quality materials and longevity in mind. Each one is signed, numbered, and comes with a Certificate of Authenticity. I began offering limited edition prints in 2022, with each edition capped at 100. As they sell out, their value can rise, especially as availability becomes more rare.

From there, the choice comes down to material, and each option, museum paper, canvas, and gloss metal, offers a different way to experience the artwork.

• Museum Paper has a soft, archival surface that is acid-free and designed for colour depth and clarity. When framed properly with archival materials, it can last a lifetime without fading.

• Canvas Prints carry a textured, glossy finish that feels close to the look of an original. They come either pre-stretched and ready to hang, or rolled with an extra three inches of material for stretching later.

• Gloss Metal Prints are made on professional, archival-quality dye-sublimation metal panels, which infuse the image directly into the surface. The result is vibrant, waterproof, scratch-resistant, and suitable for indoor or outdoor display.

Jeff Dillon Limited Edition Prints

All prints are produced on demand, which ensures that every one is freshly made for the collector. Delivery is tracked, and custom sizes are sometimes available depending on the piece and the material chosen.

The Sample Pack

I often hear from collectors who are unsure which print material to choose. To make that decision easier, I created the Fine Art Print Sample Pack. It includes examples of museum paper, canvas, and metal prints, all featuring my painting Northern Light Magic.

The pack gives you a chance to feel the textures and see the finishes for yourself, which takes away the guesswork of buying art online. It also makes a thoughtful gift, especially when paired with an eGift card so the recipient can decide which type of print works best for them.

I ship worldwide, so no matter where you are, you can experience the quality of my prints in your own space before committing to a larger order.

Caring for art is not complicated. It is about respect, attention, and creating the right environment. Whether you own an original painting or a limited edition print from Jeff Dillon Fine Art, the steps you take today will decide how long it stays vibrant and alive.

Art is part of a longer story. It begins with me in the studio, finds its place with you, and with care, can carry forward into the lives of future generations.

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Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok • Bluesky • Substack

Read more

That’s when I know I’m getting close.

#286 – Weathered Yet Unbroken, Original Work By Jeff Dillon

I don’t usually name a painting until the very end. If I do it too early, it feels like I’m forcing an ending onto something that’s still unfolding. Throughout the process, I’m often critical of what I’ve done, not to tear it down, but to stay honest with myself. That mindset helps me keep learning. Every painting teaches me something, even if it doesn’t turn out the way I first imagined. That’s part of what keeps me coming back each day.

Some painters talk about the risk of overworking a piece, but that hasn’t been my experience. There have been plenty of times when I thought a painting was finished, but I kept going. The extra hours or days often brought out something unexpected, sometimes even my favourite part. I’m almost always glad I didn’t stop too soon.

Earlier in my career, I worked more quickly. I was eager to finish a piece and move on to the next idea. There was always something new I wanted to explore, and I felt that constant drive to keep creating. Now I take more time with each painting. I remind myself that I have a lifetime to paint. The work has become more complex, and the scale is often larger. I may not complete as many in a year. It’s not that I cared any less about the earlier pieces. I’ve simply learned more over time and developed a greater sense of patience. The paintings I finish now reflect that growth.

Sometimes I reach a point where the ideas I’m working with start to grow beyond what the painting can hold. Even if there’s still more I could add or refine, I know it’s time to move on. It’s not about giving up, it’s about recognizing that the next painting might be the place to explore those bigger ideas. Some pieces could have been pushed further, but I choose to carry the momentum and lessons forward. Not everything needs to be resolved in a single canvas.

I usually start with the farthest point of perception, building the background before moving into the foreground. When the colours and forms begin to connect, the painting starts to find its rhythm. Some pieces come together more smoothly than others, flowing naturally from one stage to the next. Even then, I stay critical throughout the process. That steady pressure helps me stay focused and keep improving. It’s simply how I work.

Certain paintings have challenged me in a way that makes parting with them feel less like letting go of the work and more like stepping away from something I’ve worked hard to overcome. It isn’t about ownership. It’s about what I went through to complete them. They hold the experience of struggle and breakthrough, and sometimes that’s hard to let go. But I remind myself to keep painting. That’s the only way to keep growing.

I’m not chasing perfection, and I’m not trying to paint the world exactly as it looks. What I’m after is a feeling, life expressed through movement, light, and colour. From a distance, I want the painting to feel grounded and believable. But as you get closer, the image gives way to gesture, texture, and abstraction. That’s how I see the world. A tree far off is a single shape, but up close, it becomes layers of bark, shadow, and detail. The illusion depends on contrast, and on trusting the viewer to bring their own perception into the experience.

Even after I finish a painting, it often takes time before I can see it clearly. Sometimes it’s weeks or months later when I recognize what the piece actually holds. When I’m too close to the work, I focus on what could have been better rather than what’s working.

When someone looks at one of my finished paintings, I want it to feel alive, not just in movement across the canvas, but in the sense that time is always shifting. I want it to evoke the feeling that there was a world before us, and there will be one after us. The Canadian landscape is always changing. Even when it looks still, there is movement in the sky, in the water, in the earth. I hope the viewer's eye keeps exploring, drawn to something they didn't see the first time.

View the Print

Once I sign a painting, it is finished. I never go back to retouch or repaint it. That is the final decision. Good or bad, I take what I learned and start something new. Sometimes I shift the subject entirely for a change. Other times I stay with a theme because I feel there’s more to say.

Either way, I continue. That is the rhythm I trust.

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See More of My Paintings

Thank you for being part of this journey. If you’re enjoying these reflections and would like to see more, consider subscribing for free or becoming a paid supporter. You can also visit www.JeffDillon.ca to explore more of my work.

© 2025 Jeff Dillon Fine Art
Studio: 301-72 St. Leger St, Kitchener, ON, N2H 6R4
JeffDillon.ca • Instagram • Threads • Facebook • LinkedIn • YouTube • TikTok • Bluesky • Substack

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Click here for the Original Painting #297 "Where Mind Wanders"

#297 - “Where Mind Wanders”
by Jeff Dillon
Size: 30″ x 40"
Premium Canvas Stretched on Gallery Wooden Frame, Ready to Hang

This scene is based on a remote lookout point in Oregon’s Mt. Hood National Forest, near the summit of Bull of the Woods Wilderness. The tower that once stood here was lost in the Bull Complex wildfire the following summer, but the quiet mood of this place remains. The fading light, the weathered lookout, the way the windswept pine leaned into the hush of evening, it all felt suspended in a kind of gentle farewell. In the distance, you can see the mountain. The journey to the top becomes more than a physical climb. It’s a space where thought slows, where the quiet allows the mind to reflect, reset, and begin again.

Enjoy ☺
Jeff Dillon

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