Tell us a bit about any thoughts or feelings that came up when you read Christopher Buehlman’s story.
It was fun. I am a slow reader but this moved at a clip and it was awfully tasty. I imagine that, for any writer, they want to be as effective as possible within what they are attempting — scary can be made up of so many things or so few things and the way in which any writer chooses to orchestrate such a successful effort is always great to watch — seeing the decisions unfold. I loved it.

You frequently paint tornadoes. What’s behind your fascination with them?
To me it is really the same reason anyone would paint the ocean — think of what it looks like, sounds like, can do, has done. The way it catches light and kills and creates has every bit of the natural energy coursing through it that one may have. Imagine the capacity to engage in severe thunderstorms!

What aspects of horror do you find most psychologically unsettling, and why?
Horror that renders the viewer or character with a sense of isolation can be very disturbing. Like not being able to find anyone else ever again.

What emotion / feelings do you hope to evoke in the viewer of your painting?
I wonder if it is about emotion? It’s more the idea of confrontation — that this character is looking at the viewer very much appeals to me. The sort of “you’re next” vibe!

What reference or detail in the painting might only be noticed on a second or third look?
The grin on the dead man's face.

Do you drink whiskey? If so, how do you like to drink it?
I like it neat, no water, at the bottom of a wide glass.

What was your reaction when Matthew Lillard reached out to collaborate with you?
It was great to hear from him!! I met Matt in the 90’s when he appeared in a Colin Patrick Lynch play in Hollywood. Everyone there enjoyed hanging out and he eventually bought a tornado painting of mine. In the course of this project, I actually got to see it again some two decades later!

Anything else you want to add about this artwork or working with us on this project?
Oh, it has been an absolute pleasure. I wish all companies were as open, inclusive, and relatable in dealing with their artists. The transparency, the communication — all of it.