♪♪ Henderson: The hardest part is I am never satisfied until the last splash that I can stand back and say, "Okay, that's it."

It's always in my head.

I know what I'm gonna do.

I kind of know what the finished product's gonna look like, and I pick the colors because I kind of see it in what I think a client would see.

It's not gonna be a normal portrait.

I said, "It's this style or it's not gonna happen."

People come to me because it's totally different.

I've always been pretty good at getting likenesses.

One day by mistake, actually, I spilled paint, and the paint splattered all over.

A friend of mine said, "Murray, now that's art.

I would buy that.

That gives it the action.

That gives it the emotion."

And I said, "You think?"

Michael actually played on that floor, which is very exciting.

And then I added the Murray Henderson exact abstract to it.

And that's how I came up with that splash.

My very first print that I did was in high school, actually, and it was of John Lennon, and it was a realism painting.

So from there, I started drawing more faces and more famous people in this exact abstract style.

That's what I think my paintings were always missing when I was doing photorealism is it didn't show the movement.

Splashes -- it shows action.

It shows emotion, I believe.

Instead of having, like, a basketball shot, I want to have the ball looking like it's exploding or moving.

And it makes it more fun for me as well, so I'm not as worried about getting a splash of paint on someone's face.

I think it actually adds to the painting.

I get it in my head, and then I have to draw it.

I sketch it out, usually small, just to see, and then I know where the splashes are gonna go.

I can control where my splashes go now pretty good.

I have got to the point now that I actually can look at something and I know what color it needs, and it's hard because I could splash for hours and hours and hours, and sometimes I've overdone it and I've actually had to go back over the painting, which sometimes works out even better, to tell you the truth, because it's got a lot of texture to it.

And I like other people's opinions and I'll squash it, kind of listening to what other people say.

Some artists won't do that.

Like, I like getting people's opinions.

So I've got 8 to 10 going at one time, always.

So for the Dream Collection I have like four going right now.

The Dream Collection idea is that we do collaborate with the athletes or celebrities, and what we do is we actually ask them and collaborate with them far before the painting even starts.

It's we're asking them, "What are your iconic moments?

What are your favorite moments?"

It might be something that no one else is aware of, and this makes it more personal for the athlete or for the celebrity.

And then what they do is they collaborate.

They use their football, the basketball, the hockey puck, the actual stick.

We dip it in the paint and I can kind of push them in the direction where I think they should throw the ball.

The splash is gonna hit, and as soon as we actually unveil it, it's the painting of their dream, their favorite moment.

When you have a dream and you put yourself in the right circle of people to get you to accomplish that dream, it gives me the chills just talking about it.

This, to me, is a highlight moment in my life.

Henderson: Shaquem and Shaquill Griffin -- they're both high-fiving each other with gold paint on their hands because they said they're artists now.

So now they're NFL superstars, and they're high-fiving each other, saying, "We've accomplished it.

We're artists."

That's a great feeling for me.

They love it.

They're a part of it.

They're not just sitting in a room signing 1,000 autographs.

They're actually painting.

They're doing something I don't think's ever been done, I mean, with another artist.

I do love putting emotion into anything I do.

I mean, I'm a people person.

So I've had people ask me, "Would you come and paint live at a wedding?"

I've painted Elvis Presley.

I've painted people's dogs.

I find the bigger pieces are a lot easier for me to get more detail, believe it or not.

I just worked at one at Fanatics Fest, and I had a small face, and it took me longer than the big face.

The bigger, to me, I think the easier and more exciting.

Art is important.

I remember going to an art show as a child and being told, "You can't go near it.

Get out of here!"

And they're getting mad at me.

As a kid, I was just interested in seeing their techniques because I wanted to see how they made things.

So I completely took away my barrier and said, "I want anyone to come up and help me."

And I've got pieces that kids came back numerous times and they'd want to keep helping.

And there was one kid in particular that came up and he said, "Can I draw something on the bottom?"

And I thought, you know, he was just gonna scribble.

He actually drew something that was pretty good.

And I said to his parents, I said, "You make sure that he follows through because he's got a gift."

That really meant something to me, because I remember that.

Kids getting into it should be pushed this way, just like sports, just like lawyers, doctors.

if they're artistic and they want to try, let them go.

And it's not all about money.

It's about creating what you believe in, what you want to paint, what you want to do.

And at the same time my accident happened, my 15-year-old stepdaughter was diagnosed with cancer, so we lost her a year later.

To go through that and an accident and not being able to turn my head and other stuff happening in the art world that was kind of nasty to me, I almost gave it up.

And it was my wife that said, "You get out there into the studio," because she could see me.

It was something missing in me.

She said, "You get out there and you paint."

Courtney -- she was kind of splashy, and I always feel somehow her style comes out in it, and my studio, it splatters on the ceiling, on the windows, on the door.

It's everywhere.

I went out, and I've never looked back.

♪♪