These are the products of questioning. The daily concerns of a daily life in a larger world, dialoging with art, and literature, and events. Less topical than profound, less ironic than sublime, the present moment is used merely as a springboard to the universal.
Torrential Summer | 2018 | Oil on Gauze, branches brought down by Sandy, silk cord, hardware | Dimensions variable, Installed at 106", support 36" diameter Weather befitting circumstance, lush mature greens, fireflies and wheat, moods undulating like the rapid onset of a thunderstorm sky, dark and battering and relieved, gently brightening again. Studio Cat, my Kali, has left me. I will go to Paris.
Belated Spring | 2018 | Oil on gauze, wood, hardware, thong, and bead | Installed at 101", 16.25" diameter As simple as noticing the space you occupy in the world, and what that world is doing. Spring came late this year.
Drawings (As Meaning Dilutes) | Ongoing | Oil on canvas | Dimensions vary, each canvas is 30" x 60" x 1.5" Drawing VI (Kintsugi) | 2018 Drawing V (Invisible Cities) | 2017 Drawing IV (Crevasse) | 2017 Drawing III (Pile Driver) | 2016 Drawing II (Atomic Poppy) | 2016 Drawing I (Running Man) | 2015 Immediate stain paintings meant to be stretched an unstretched, a painter's answer to a rapid-fire process in tight quarters, the Drawings might be seen as a sister practice to my Doodles. Far less formal than painterly-painting, Drawings free me up to be unapologetically plastic.
Lemon Tree | 2018 | Oil on readymade | .688” x 1.938” circumference closed For Tarrah. May every girl get her lemon tree.
House | 2018 | Oil on readymade | 3 x 8.5 x 2.625" Kin to Tesla’s Truffle, a shingle for her 'rents, two of my "count on one hand" friends. Kathy said she wanted to watch sunsets on the porch.
Cueva de la Pileta | 2017-ongoing | Oil on canvas and wooden pushpins | Dimensions variable In Spain, the oldest art I had ever seen, immediate, layered, ongoing, and fundamentally relevant. Art endures.
Duende | 2017 | Oil on canvas and wood, hardware | Dimensions variable, canvas 20.5” x 324” (27’) A nightmare of anger and confusion, player-piano dirges marching on as each segment unfolded… and then we learned, it was dementia. Ringing despair. But she stopped blaming me. Started letting me help. And had one of her grand moments- we would go to Spain, which had been going to be my graduation present before the economy whisked all thought of frivolity away. Spain lived up to every imagining. Such richness there, a soulful place with the grace to accommodate all the contours of living. Exhibited: In*Formation : Women in Reflection, Hatch Gallery, Hamtramck, MI
Painted Steel | 2017 | Oil on readymades | 4.125” x 8” x 4” An appreciation for industrial design turned navel-gazing sight-gag riffing on Johns’ answer to de Kooning’s put-down. Artists are assholes.
Madrid | 2017 | Oil on readymade | .875” x 3.75” x 2.375” closed A very fond memory of a magical place where children play in fountains in manicured parks behind museums at midnight, patchwork men dance to their entertainment and mothers thanks, parakeets play in puddles, gentlemen sew in botanic gardens, gleaming tiles paint the alleys in every color, and every opportunity is taken to live beautifully.
Confidante | 2017 | Oil on board, mica, fire | 12” x 6” x 1.5” What began as a technical exercise took the brunt of a trauma, my I-stripe rooted in mountains turned smoke, and ash, when fluidly, perfectly, a friend, silver to gold fitting snug at my back, there to lean in; the ash washed away, strong, delicate bands of unity and continuity brightened, and the mountains redrawn, stronger. He, in the end, disingenuous. The mountains stand.
Eco Series The Wolves of Yellowstone | 2017 | Oil on board | 10” x 10” x 1” Begun with dire thoughts, I was reminded of resilience with the balanced and correct application of power. Tree Frog | 2017 | Oil on board | 8” x 8” x 1” I worry for the world, and all the splendid creatures in it. The House That Katie Built | 2017 | Oil on board | 7.75” x 6” x 1” Forget Jack. Above the clouds of toxic rain, Katie built anew, beautifully.
Tesla's Truffle | 2017 | Oil on readymades 2.5” x 11.25” x 6.5” I went out to my besties’ new house- a fixer-upper. I found items that wanted to be art. The three year old hollered "That's not art!" I told her it would be.
Atomic I-III | 2017 | Oil on board | 4” x 4” x 1” each Mere studies of paint to catch the excess left by other projects, turned whimsy.
Ambition and The Persistence of Memory | 2016 | Oil on gauze, twine from a moonlighting gig, readymades | Installed at 105", stepped and trailed, 45" x 72" Revisiting vocabulary from the last opportunity to make good on a great space, I again scaled up. Ambition was made for the Flatiron Prow. As fragile as it is large, Ambition never got there. May it find another outlet.
La Vie La Mort | 2015 | Oil on aluminum cosmetic tube and wood | 2.5" x 6" x 4.75" Painting is dead. Long live painting.
Hummin | 2015 | Oil on wooden cheese box | 1.25" x 4.5" diameter, closed Named for an alias of Asimov's robot Daneel Olivaw, Hummin bemusedly explores our labyrinthine cheese wheel universe.
Zephyr | 2015 | Oil on muslin, chain, beads | Installed at 92", 32" diameter (14.25" diameter each, installed equilaterally at 18" to .5" above the floor.) May the winds of fate be gentle (and your friends be there for you when everything goes down the shitter).
Qfwfq | 2015 |Oil on canvas | 60" x 12" Referencing a favorite story by Italo Calvino, A Sign in Space, Qfwfq speaks to notion of presence: the marks we make as artists, and still more fundamentally as humans.
42 | 2015 | Oil on canvas, plaster, salvaged ring boxes | 2.75" x 2" x 3" each, open Named for the meaning of life given by the supercomputer Deep Thought in Douglas Adams' Hitchhiker's Guide to the Galaxy, 42 takes the stuff through its paces. No more. No less.
Delicacy | 2015 |Oil on regifted sweets tin | 2.25" x 3.125" diameter, closed Posies, pollen, disruption, corruption. Delicacy. Indelicacy.
Cabbages and Kings | 2015 | Plaster, salvaged ring boxes | 2.75" x 2" x 3" each, open Sublimely silly pocket-sized landscape sculptures, pearls tucked in their shells. Exhibited: Sideshow Nation: Thru the Looking Glass, Sideshow Gallery & Life On Mars Gallery, Brooklyn, NY
Paper Tiger | 2015 | Oil on canvas | 12" x 60" x 1.5" A wish from a friend. It was. We earn our stripes with the near-misses too.
The History of Fish I-VI (in progress) THoF I | 2015 | Oil on canvas, wool given by my aunt, hardware | Hung to 73.5" (1’ off the floor) x 11.5" diameter THoF II | 2015 | Oil on muslin, wool, hardware | Hung to 103" (1’ off the floor) x 23.25" diameter each, spaced at 30” THoF III | 2015 | Oil on heavy muslin, wool, hardware | Hung to 73" (1’ off the floor) x 23.75" diameter THof IV | 2015 | Oil on canvas, wool, hardware | Hung to 98" (1’ off the floor) x 27.75" diameter Conceived in the concurrence of a watching of Neil Degrasse Tyson's documentary Cosmos: A SpaceTime Odyssey in which he relates the tale of Halley and Newton and a reading of John Stuart Mill's 1869 essay The Subjection of Women, The History of Fish plays out the equation Nature + Nurture = Potential.
Quiet | 2015 | Oil on canvas, pins, wood, beads | Installed at 75.5", 19.5" diameter Something unplanned, well *that never happened in a studio.... I have no idea what I'll call it, or what to say about it, but I feel the need to pour an autobiographical red spot at the bottom of this banner, sitting, calmly, as it were, in the nest of painting, waiting, being... in time, in self. Quiet. And there we have the answer too.
Dominoes | 2015 | Oil on stretcher bar keys, wood | Box: 2" x 6.25" x 2.625", Keys (16): 3.5" x .9375" x .25" each Playing with fate.
Works | 2015 | Oil on canvas | 24" x 24" x 1.5" The end-cap to a series I wandered into reflecting the many ways humanity has devised to gain clarity given a dearth of information. The Tarot deck's three of coins is the only I found that speaks directly to the arts - it is the card of mastery and achievement.
Redon's Butterflies | 2014 |Installed to 79.75”, 26" diameter and 70.75”, 24"- spaced at 34" | Oil on gauze, branches brought down by Sandy, hardware They dance."[Painting] is a gift of delicious sensuality, which can with a bit of simple liquid matter reconstitute or amplify life, imprint a surface from which will emerge a human presence...." - Odilon Redon
Gift | 2014 | Oil on steel tin | .625" x 2.25" diameter, closed In a tin of lip balm from the ritual gift of tending my dearest friends bestow yearly, with an attendant conversation on the gifts that have meaning, the gifts we remember.
Singed | 2014 | Oil on muslin, earring pins, wood, beads | Installed at 86", 52.5" x 14.5" Shroud. Cloister. Boundaries. Church windows overturned. But the light still safe in the center, and free, rising. Taking another view- saggy tits, limp dick and balls? Entrapment? Containment? Repetition, with no progress. It's all a matter of perspective. And I'm glad to be on the side of it that I am, when all is said and done. Better singed than rotting.
Tasseomancy | 2014 | Oil on steel tin, used staples | 1" x 3" diameter, closed A whimsy on the rituals engaged in to get clarity. Mine is ever, art.
Price's Hanky | 2014 | Oil on canvas, braided thong, hardware | Installed to 72”, 16" diameter An aborted collaboration. An atypical appropriation piece begun off a garage sale work from the walls of the sold childhood home I'd intended to dub Price's Tissue for the poster-boy of Appropriation, after a frightened and inglorious broadcast of infidelity, got a name-change and after, cut, hung, and done. A serpentine support dangles an overpainted Eden with a back worn bloody, and a hole through which to see beyond. I wish him well. Exhibited: Prepositional Painting, solo, Chashama 300, NYC – Awarded NEA Grant
: ∙ ∙ ∙ ∙ | 2014 | Oil on canvas | 24" x 24" x 1.5" Thy image is ever before the eyes of thy beloved, (Does the person whom I love, love and regard me?) - Napoleon's Oraculum, 1839. Exhibited: Venn, solo, Tompkins Square, NYPL, NYC – Artcritical Pick
Self Contained (in Company With Albers and Stella) | 2014 | Oil on canvas | 24" x 24" x 1.5" Even as we must be responsible for our own lives, so must we show our delicate interiors that we not isolate ourselves within our polished, protective walls. Exhibited: Venn, solo, Tompkins Square, NYPL, NYC – Artcritical Pick
Glass Slippers, Bought Too Small | 2014 | Oil on canvas, hardware | Installed to 69”, 19" diameter Valentine's. Planning for a future, saving toward an end, I had relented and said he could buy me a small, practical, gift. Exhibited: Prepositional Painting, solo, Chashama 300, NYC – Awarded NEA Grant
Quilting, Nike Bled | 2014 | Oil on canvas | 24" x 54.5" x 1.5" A love affair. An informal partnership. An attempt to bring together two lives, and grow. The forces unequal, unbalanced. His mother embraced me that last day at the gallery, "Goodbye," she said. Goodbye. Exhibited: Venn, solo, Tompkins Square, NYPL, NYC – Artcritical Pick
Sow's Ear | 2013 | Oil on jute, twine, and bead | Installed to 96", 23" diameter You can't make a silk purse of a sow's ear. Or maybe you can. Exhibited: Prepositional Painting, solo, Chashama 300, NYC – Awarded NEA Grant
Rags I-VII | 2013 | Oil on canvas, wood and hardware mounts | 10.5" x 32" x 1.5" Scrappy and resourceful, Rags have grace without fineness.
Studio Chair | 2013 | Oil on canvas and chair frame | 47.5" x 24" x 18" How much of how we see art is informed by its surrounds both in regard to context, and personal comfort; here literally sits a painting on a modern frame, cut with an eye to the Baroque. Exhibited: Prepositional Painting, solo, Chashama 300, NYC – Awarded NEA Grant
Betty LeWitt Tàpies | 2013 |Oil on canvas | 36" x 24.5" x 1.5" A discourse work in the playing with the legacy of Courbet's L'Origine du Monde and touching on the works of Tompkins, Sol, and Antoni. Exhibited: Venn, solo, Tompkins Square, NYPL, NYC – Artcritical Pick
Waste Not | Want Not | 2013 | Oil on canvas, chopstick rests, hanger wire, thong, and beads. | Want Not (L): 27" x 6" x 18", Waste Not (R): 22" x 5" x 17" Scraps twice repainted and assembled with materials exotic and mundane, Waste Not and Want Not morphed in the making from an essay on Punk to a rumination on plumage of a more endangered nature.
Elements | 2013 | Oil on canvas | 24" x 24" x 1.5" Reduced to barely enough, Elements shows the bones underlying much of my work in material contrast, line, and form. Exhibited as T-shirt print: The Art of Japanese Fashion, Community Gallery, the Toledo Museum of Art, Toledo, OH
Eschew Painting | 2013 | Broken studio shoes, bark stripped from boughs dropped by Sandy, oil paint, varnish, and crate | 7" x 13" x 13" An object made amid much discussion of the definition of painting, the accidental marks on the exterior were preserved under varnish, and the interior deliberately altered with paint. The work touches on Oppenheim, Warhol, and Guyton.
Boxies I-IX | 2012 |Oil on canvas, salvaged ring boxes | 2.75" x 2" x 3" each, open Boxies play on the appeal of the wee, of the personal.
An Arrangement Between Hirst and Lalique | 2012 |Oil on canvas, hardware, aluminum pushpins | 22.5" x 10.5" x .75" A discourse piece begot by tantrum, happenstance, and epiphany. Exhibited: Prepositional Painting, solo, Chashama 300, NYC – Awarded NEA Grant
Rite | 2012 | Oil on canvas | Variable, each canvas 36" x 12" x 1.5" | Not available I had a little crisis-of-faith over the summer and dug back to the primal to reconnect- in this case, literally. Touchstones include Shoowa textiles, cathedral architecture, cave painting, Ana Mendieta, and Francis Bacon. - Final photo in situ at my lovely cousin's; proof you don't need to be bouji to live with art. Exhibited: Prepositional Painting, solo, Chashama 300, NYC – Awarded NEA Grant
Mr. Alexander Pablo Adrover & Ms. Henri Ray Smith Mr. Alexander Pablo Adrover | 2012 |Oil on canvas, hanger, cord, and bead | Installed to 6’6”, 17" diameter Companion to Ms. Henri Ray Smith, based on Calder, Picasso, and Miguel (himself touching on Quentin Crisp), respectively. He's a bit of a scalawag. Ms. Henri Ray Smith | 2012 | Oil on canvas, hanger, cord, and bead | Installed to 6’6”, 17" diameter A discourse work based on Matisse, Man, and Kiki respectively; it addresses the concept of the male gaze as an odalisque while simultaneously making feminist reference to the body in the allusion to Kiki Smith’s Train. Exhibited: Prepositional Painting, solo, Chashama 300, NYC – Awarded NEA Grant
Sacred | Profane | 2012 | Oil on canvas | 60" x 114" A challenge to myself: my work is verily who I am, yet nothing should be taken so seriously that it becomes unquestionable, untouchable.
My Funny Valentine | 2012 |Pencil, gesso, corrugated cardboard, and frame | 19" x 102" x 3" In keeping with the current emphasis on “upcycling,” a contemporary take on consumerism, this work is made primarily from glassless frames given me by a gallery that closed, and reclaimed cardboard; it is titled for the song. The message, “take me,” asserts itself both in that spirit of generosity, and in the realm of feminine sexuality.
Benglish | 2012 |Oil on canvas, mica powder, and pencil | 66" x 78" x 9" A discourse piece, playing off the work of Lynda Benglis.