Blog

No There There (going away away)

  • June 11, 2019
No There There (going away away)

This work has been acquired by a collector in L.A. (Fitting, as its title "No There There, No Hear Hear" is a play on words referencing Gertrude Stein's famous comment upon seeing her old neighborhood, Oakland, also in California). The work is a palimpsest, with layers and layers of shifting text, texture, information, color, and meaning. Images and video below, to show context and optical shifts. 84 x 60", oilstick on aluminium tape and vinyl on aluminium.  

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sincerity is great

  • April 26, 2019
sincerity is great

sincerity is great. also, architecture compressed onto paper:    

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Installation as Tsunami (CRISPR SCULPTR v.XI)

  • April 21, 2019
Installation as Tsunami (CRISPR SCULPTR v.XI)

Artwork as tsunami, ice age, desert dunes, mud slide, rising sea level. Art as anthropocene. Sculptures submerged by an encroaching installation (an iteration of CRISPR SCULPTR installation done Banff Centre).  The installation moves, over weeks, through a group exhibition or institutional collection, around and through other works, inexorable. This iteration only exists in relation to other works. It frames, enhances, barricades other work. Artwork as migration. Seen in terms of migration, the work creates treaties, negotiations, agreement, communication,  compromises, solutions re: borders,...

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Infecting installation, spliced cyanotypes & dangerous sculptures

  • April 2, 2019
Infecting installation, spliced cyanotypes & dangerous sculptures

A long, skinny painting that connects all the art in the space like a neural network. An installation that infects  the exhibition, its colorful component parts migrating over time through and around the other works, framing, enhancing, colonizing, barricading them. A massive wall painting to be decentralized over time, its 30 parts moving out globally, to flow back for exhibition every 10 years, a murmuration that builds narratives and networks over decades. A dangerous painting. An even more dangerous sculpture. A series of resequenced and genetically modified paintings. Works made with...

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Collage

  • March 22, 2019
Collage

For the record, a survey of my early collages, and their evolution till today. The paper ones were made and exhibited in Tokyo, LA, Toronto. The series (style) began in 1987. The concept came fully-formed in a daydream while sitting at Shinjuku station: slice images to strip them to their core information, and then interleave the images to compress them into dense meanings. It also enabled works using disparate material and juxtapostions of ideas to visually cohere. I have always described these as having a visual rhyme scheme, A/B/A/B/C/C.   Poetry, music, and DNA. Most carefully composed,...

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IOTA, Art collector, K.I.A.

  • March 6, 2019
IOTA, Art collector, K.I.A.

IOTA is a distributed painting. It is a single large artwork to exist in many different locations in 30 parts. It is a decentralized painting. Each individual work (24 x 18") exists as a standalone piece, but is connected to all others via horizontal, vertical, non-linear and color elements. Each piece however, is uniquely folded (its creases like a fingerprint), utterly unique within the collective. When a single section is on the wall, one knows it is connected  something much bigger than one sees, connected globally to others across countries, cultures, class, religions, time. (Metaphor!) The...

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Dangerous Sculpture

  • February 22, 2019
Dangerous Sculpture

A dangerous sculpture, a reverse St. Sebastian, a psychedelic sea urchin: (Stay tuned for the large wall version)

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Snow Collage IV – Ash, Snow, Bulrush, Wind

  • January 7, 2019
Snow Collage IV – Ash, Snow, Bulrush, Wind

Composed from ash and wind on snow (a charcoalotype?), an ephemeral outdoor installation, an annual tradition. This one is about 15' diameter. (Previous ones, 30', here, and here, and some snow graffiti here.) 8 hours + to make; 8 minutes to disappear (it rained shortly after completion). Gone like the year. Indoor version in the works:  ash or graphite on sand, larger in scale and longer lived. (Prints available).        

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insider studio view

  • November 27, 2018
insider studio view

Studio views, new works, developing works, see below for some images, (fast glance video at bottom): -CRISPR installation, first time on wall (about half of it); web work (painting as drawing as sculpture as installation that connects rooms and floors, view on two sides of wall); 1/10 of recombinant cement painting/installation, as tower; -IOTA, decentralized painting (floor, table, wall) to exist as single work across large geographical area; iota sculpture (painting in 1000 parts) 2 views; -40+ works on paper, two walls -a few from the CRISPR paintings, series of spliced works -two smaller...

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Shred, splice, destroy, create

  • October 25, 2018
Shred, splice, destroy, create

Inception paintings, paintings inside paintings. Many works made using found wind and sourced items across many specific locations and climates, destroyed and spliced together to make a single hybrid work. New work in the ongoing CRISPR series, which are a compression of time and space, experience and place, more on that HERE. Cyanotype series, 21st and 19th century concepts spliced together... and so on....    

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