J.M. Bond Studios
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Oil on Canvas, 30 × 40
Velvet, Skin and Song, in Blue is an oil painting of a woman singing into a microphone in a vulnerable moment on stage. Cool blues dominate her skin, the curtained background, and her velvet dress, with her red lips as the main point of focus.
The painting first appeared in a David Lynch tribute show in January 2026.
Oil on Canvas, 16 × 20
Sacred Heart reimagines an iconic motif into a subject not just divine, but profoundly human. The upward flames don’t simply signify holiness: they represent the heat of passion, love, and resilience that fuels us even when scorched by challenges. The wound is not just a mark of sacrifice but an opening that lets experience flow in and out. While blood trickles downward, grounding us in the cold reality of pain and mortality, the heart’s radiance reaches outward, touching and transforming those around it.
The stark contrast between the cold void below and the warmth above reframes ideas of hell and heaven into a human narrative—moments of despair and hope coexisting, pulling us in both directions. This Sacred Heart is not a relic of faith but a visceral reminder of the messy, fiery, and connected experience of being alive. It is a reminder of the beauty in this coexistence—the capacity to hold both loss and renewal within the same heart.
24 × 36 in © 2025 J.M. Bond.
The hand on her cheek doesn’t comfort. It props her up. Like she’s been here before. Like she knows it gets worse if you move.
The smoke at the bottom curls slow and familiar. No urgency. No heat. Just habit. Just ritual. A third cigarette not because she needs it, but because she doesn’t know what else to do with her hands.
She’s beautiful, sure. But not in a way that wants anything from you.
Not tonight.
Tonight she only craves what always leaves her emptier, and she lights another anyway.
Oil on canvas, Diptych, 24 × 48 in, © 2025 J.M. Bond.
The Gossips in Aubergine Chairs (The Whisper)
A seated woman in a green dress leans forward in an aubergine armchair, a cigarette holder lifted beside her face. One hand cups her mouth as if speaking; a soft ribbon of smoke arcs toward the adjoining panel. The palette is muted and interior, with the chair’s deep aubergine framing the figure.
The Gossips in Aubergine Chairs (The Listener)
Across from her, a woman in a dark blue dress sits in a matching aubergine armchair, a yellow fan lifted near her lips as she turns toward her companion, The Whisper. Her posture suggests listening; the fan partially obscures her mouth. Shared lighting and color link the two panels, creating a single conversational scene across the gap between them.
This work is temporarily unavailable and will go to auction at Mainsite’s ONE Half-Century Event on March 21, 2026 at 7 PM and will be a part of the preceeding exhibition from March 13 - March 20, 2026. To purchase tickets and bid go to: https://normanarts.org/one
Oil on canvas, 12 × 24 in © 2025 J.M. Bond.
Analytic cubist rendering of a bass player whose calm, nonchalant face contrasts with fingers that merge into the strings. Geometric planes emphasize steadiness and depth, visually translating the bass line as a grounding current.
This work is temporarily unavailable and will go to auction at Mainsite’s ONE Half-Century Event on March 21, 2026 at 7 PM and will be a part of the preceeding exhibition from March 13 - March 20, 2026. To purchase tickets and bid go to: https://normanarts.org/one
Oil on canvas, 11 × 14 in, © 2025 J.M. Bond.
A hand drops a thin peel into a coupe. Angled planes frame the wrist and glass, focusing on the small ritual of finishing a drink.
Oil on canvas, 24 × 72 in, © 2025 J.M. Bond.
A tall figure in a black tuxedo and white bow tie stands with his hands poised at his waist, framed against an Art Deco arch of geometric gold and bronze. His eyes are averted, his posture formal but detached.
Oil on canvas, 24 × 48 in © 2025 J.M. Bond.
A second male photographer lifts a camera directly toward the viewer, electric flash bursting across faceted planes of light. The composition emphasizes the sudden, invasive quality of the new technology, framing the subject as captured, claimed, and exposed in an instant, highlighting a cultural shift from rare, ceremonial moments of photography to the routinized spectacle of mass exposure.
Oil on canvas, 24 × 48 in © 2025 J.M. Bond
A male photographer peers through his camera as beams of electric light fracture the scene. The composition emphasizes the sudden, invasive quality of the new technology, framing the subject as captured, claimed, and exposed in an instant, highlighting a cultural shift from rare, ceremonial moments of photography to the routinized spectacle of mass exposure.
Oil on canvas, 24 × 48 in © 2025 J.M. Bond.
A female photographer raises a box camera with a phosphorous flash, the moment of ignition caught as a flare of fire and smoke. The slower, volatile technology lends the scene a ceremonial weight, suggesting witness rather than intrusion. Title references Blackstar by David Bowie, evoking ritual, finality, and the end of an era in photography.
This work is temporarily unavailable and will go to auction at Allied Art’s ARTini 2026 on Saturday, May 2, at 7:00 PM. To purchase tickets and bid go to: https://www.artiniokc.com/
Oil on canvas (diptych), 12 × 16 in each canvas, 12 × 32 total; © 2025 J.M. Bond.
Overhead bottle and hand poised at the rim of a bar; the first stream of liquor begins to fall. A cool green field and sharp verticals flow out of frame. In a secondary piece, a martini glass receives a steady stream from above while a second hand rests on the table edge.
This work is temporarily unavailable and will go to auction at Allied Art’s ARTini 2026 on Saturday, May 2, at 7:00 PM. To purchase tickets and bid go to: https://www.artiniokc.com/
Oil on canvas, 24 × 48 in, © 2025 J.M. Bond.
A woman in a fitted red dress stands at a bar, her body turned away but her face looking back over her shoulder. The background is composed of dark geometric panels and shadowed bottles.
You won’t get the whole of her. Only what she allows.
She signs nothing. Leaves no trace. Just a mouth, a hand, a curl of smoke where a name should be. What’s left is her cigarette, only burning to measure time in ash, and a glance you’ll never see whole. The rest stays blacked over.