Blog

Kirilian cities

  • October 23, 2019
Kirilian cities

METATROPOLIS SERIES Kirilian buildings. Architectonic coronas.Whimsical cities. Urban auras. Structures as broadcasts. Outside-the-box meta metropolis. Ongoing series (Some examples of larger works on canvas, smaller ones on paper, below) Acrylic on canvas, 70 x 48" - 2019   Acrylic on archival paper, 24 x 18", 2019  

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mmm skyscraper i love you

  • October 16, 2019
mmm skyscraper i love you

"mmm skyscraper i love you" - A spliced skyscraper, a volumetric painting. A three-dimensional version of the genetically modified paintings. This version 3', wood and acrylic. Developing versions in painted steel. Written sculptures:   The genetically modified paintings: Bonus: another volumetric painting; scaling up to 120"+ high  

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Genetically Modified Bouquet

  • August 29, 2019
Genetically Modified Bouquet

This work is a hybrid of photography, painting, sculpture, collage, digital construction and ikebana. It’s a genetically modified bouquet, a handmade jpeg of a flower arrangement… Time is also spliced in this work, the 19th and 21st centuries. A camera-less photographic technique from 1842 (which uses the sun expose the image) is used along with digital and biotech strategies to create the image. Discrete visual genes from within the work, along with pictorial DNA from separately created works, are spliced together to create something new. Though the work arrives at a fixed state after...

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In A Myriad of Ages It Will Not Be Exhausted

  • August 6, 2019
In A Myriad of Ages It Will Not Be Exhausted

If from a stick a foot long you every day take the half of it, in a myriad of ages it will not be exhausted. -Mohist School of Names (China, 479 BCE) The work is continuously destroyed This painting is cut in half every ten years. Each division makes it a new artwork, and starts the clock on its next destruction. The original state becomes unknown,  as the smaller and smaller pieces are placed in new positions.  All future states are also unknown, existing as probabilities, potentials, or impossibilities. Now or never Each painting can only be seen in each physical ‘now’ of the viewer, ...

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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 & the metatropolis

  • April 26, 2019
sincerity is great & the metatropolis

sincerity is great. also the architectonic + virtual + organic + poetic as a Metatropolis        

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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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