ACRONYMS (2016), 9x27 inches, acrylic on cardboard, hardware, mounted on panel. An acronym is a way to "cut and tile" language into an easy to remember shortcut. Acronyms are either empowering, as a semiotic of a utopian ideal (such as AI) or intimidating and somewhat dystopian. As of now, AI is the current "signage" for the future. (Done in a Neo-Dada, slightly "Johnsian" style.)
Green Channel (Study), 11 x 14 x 1 inches, acrylic, hardware and stencil on canvas board mounted on panel. (cadmium red over sap green) (2016) Assemblage with a slight references to the Stroop Effect, employing a green R as a pun ("R-ronic"!). The slight variation between green and black is not noticeable in low light, or in the photograph, but is evident only in certain light temperatures. This is a study in two ways: how green interacts with red as a dichotomy, and how physical artworks done with paint, are distinct from back-lit digital art, have a different color space and affect the eye differently.
Some of Something, 6.25 x 26.75 inches, acrylic on stencil mounted on plywood Stencils used in another work recycled into a collage.
USED (2015) 16.25" x 12" acrylic on stencil, acrylic on canvas, paintbrush. A self-referential post neo-dada conceptual piece incorporating its tools.
Bass Fishing (2014), 27" x 7.5" roundwound strings, hardware, acrylic, mounted on plywood
Debord (2013), 11" x 14" fabric, sandpaper, acrylic on board
FXD (2012) 24"x24"x2" mixed media on board. As a part of the Text series, FXD is a truncation of "Fixed". The underlying metaphor is "industry", and like Anachronistic Time Inversion, incorporates video footage of manual skilled labor (welding, carpentry, ironwork). The piece is 'fixed' in the sense that it was continuously in a state of revision or "repair", then fixed in final form. All works of art in a sense are in a state of being "fixed" until committed to some final stage. All the "tools" used (such as stencils) were incorporated right into the work. "X" is also a universal signifier for the unknown.
Macrophage I (2013) 14.75" x 18.75" mixed media on plywood (SOLD)
Macrophage II (2013) 14.75" x 18.75" mixed media on plywood (SOLD)
LIK (2012) 24"x24" Mixed Media on Wood Panel (unframed) "LIK" as the urban slang or textionary version of "like", done in orange and day-glo for a synesthetic effect, evincing "flavors" and "fragrances" of citrus, strawberry and blueberry.
Something, 8"x10" acrylic on textured panel
Carbon Tax (2012), 24"x 48" Mixed Media on Wood Panel (unframed)
Anachronistic Time Inversion (2011), 30" x 30" Mixed Media on Wood Panel (unframed) A conceptual piece about the layers of time, with recent layers inverted to lower layers. The upside-down digital clock is sound pressure sensitive and turns on by voice or other sound commands.
Smoke No.6 , 24"x24" mixed media on wood panel
Rough Hewn (2013) 11" x 14" mixed media on board (fabric, denim, sandpaper, seam tape)
Act of Contrition (2008), 11"x14"x1" Mixed Media on Wood Panel (unframed) Third in a series beginning with 'Umami', that employ mixed-media and collage procedures into abstract representations of sensorial experiences. In this piece, three-dimensional objects on the surface of the work confer tactile information through the use of braille and a small found clay mask of a human face. (The braille reads as 'shame')
Prison of Identity (2008) 8"x10"x1" Mixed Media on Wood Panel (unframed)
Prison of Identity (2008) 8"x10"x1" Mixed Media on Wood Panel (unframed) Second in a series, beginning with 'Umami', relating to the connection between the sense of taste and of sight, represented in abstract shapes and bits of found objects.
Umami (2008) 24"x30"x2" Mixed Media on Wood Panel (unframed) If something bursted with flavor, this is what it might look like. I am not synesthetic, but this is a possible visual representation of the sense of taste and touch, with abstract or stylized forms arising out of the background texture. The braille reads as 'salty'.
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