Fall 2026

152 C A R M E L M A G A Z I N E • F A L L 2 0 2 6 three decades. “At Disney, I worked alongside some of the world’s best illustrators, anima- tors and filmmakers.” All the while, Shue kept his hand, heart and mind in drawing and painting.“I kept an easel in my office and a studio space at home, making images of anything every chance I got.Working at Disney taught me the rigors of drawing. The illustrators who had been there for a long time encouraged everyone to just draw all the time. They called it ‘pencil mileage.’ It’s like musical improvisation and a way to find new ideas and keep their skills sharp.” Shue’s work is exhibited in Carmel-by-the-Sea by the Carmel Fine Art Modern Gallery on Sixth between Dolores and Lincoln. “I am proud that I’m a few doors down from the Eyvind Earle Gallery,” he says. Before relocating to Carmel, Earle was an influential development artist at Disney, responsible for the design of the Walt Disney animated film “Sleeping Beauty,” and he was among the Disney team that Shue and his wife were fortunate to meet and develop a friendship with. Carmel Fine Art owner Lorelei Gabel’s initial review of Shue’s paintings coincided with her opening of the new modern space located next to the esteemed Weston Gallery, and she subsequently included his paintings. Most (Above) “Pacific Tides, Asilomar” is a 20-by-24-inch oil on canvas. Many of Shue’s figurative paintings are impro- vised; generally not accurate depictions of reality. This is a combination of Central Coast scenes. (Left) The artist demonstrates his unique process for making drawings with water, alongside a photograph of a previously made water drawing, taken before it evaporated.