Blake Flynn has been practicing art since the time he could first grasp a crayon; however, having an aversion to starving, he embarked on a long-term plan to first ply his design skills in the engineering field. He graduated from the University of Washington in 1984 where he also studied Art, Art History and Architecture. Further training included coursework in drawing at the Academy of Realist Art in Seattle.

At the end of 1999 he left a successful career in aerospace engineering to become a full-time artist. Since that time he has had a number of solo and group exhibitions, been invited into a number of juried shows, won several awards, and has had his work featured in Amazing Stories magazine and on the cover of 48° North magazine. His work is included in a number of local, national and international private and corporate collections.

My work appears surrealistic however it is neither dream-based nor lacking in conscious control. And although I concede the germ of the idea for a given painting might have a subconscious component, I'm actually quite analytical in the development and execution of the piece (no doubt symptomatic of my engineering experience). This reliance on my rational mind combined with the narrative quality of the work suggests the term "Magic Realism" would be a more accurate classification.

Like most artists I paint what interests me, which can lead to a broad array of subjects. As a result my works portray humans and other animals, myths and religions, social and cultural boundaries, even the occasional autobiographical allusion. The tone may range from serious to quirky, but I always try to engage the subjects from an atypical perspective that finds both beauty and absurdity in our struggle to find our place ‒ as individuals, as a society, as a species ‒ in both the natural world and the "civilized" world we have created.

All my paintings are done with oil, which I prefer for its depth, richness, and workability. I paint on rigid panels with treated surfaces. After developing a detailed sketch and transferring it to the panel, I apply the paint in thin layers with soft brushes, much like watercolor. I usually start with a monochromatic underpainting and then add color with a series of translucent glazes. My attention to detail stems from my belief in its importance to quality design and reflects my deep respect for craftsmanship.