Tilt-a-whirlus

I was so happy to be learning how to clean my images digitally, I drunkenly made these backrounds Old Possum Pink.

Flapsimum


Immolium Narcissum


Immolium Phalanges


Prayer Tassel Lily

Ok, that's gray.

I often draw on the back of my business cards when I'm on the subway and don't feel like drawing attention. Ha ha. I don't recognize anything in this except for a cloud.

Happy May! Sue called from Chicago and it's snowing there.

Forsythia 3


Still life with Coconut Head


Peony


Magnolia 1

The mere thought of it makes an artist queasy.
Yet I believe it holds the key to unshackling Art in our minds.
The artist, continually falling in love with his own paint strokes, goes through great pains to appear nonchalant in his application. In reality, every daub is one step closer to the inevitable immobilization when there is nowhere to paint that won't destroy himself. He thoroughly binds his heart to the painting until it is all his. Nobody will love the painting like he does. He is staking his claim to Art. But Art is a spirit and not a painting. Art is not confined to our fantasies nor subject to our arrogant materializations. Art lays hold on us. Art takes us out on a limb in the nude while we sing what has never been sung before. And then we puff out our chests and say "I sang something new, I have the Art" Art just left, and all we need now is a small boy pointing "he doesn't have any clothes on!" This strong desire to possess Art blinds us from seeing her as a person. The same way we forget the earth is conscious. I suggest that the desires of Art herself have not been addressed and our aim is to work with her in order to discover them. This is the first collaboration.


Julian 5

This painting was composed from scratch. Literally. I started smearing paint around with no preconcieved notion as to what I was doing and after 400 hours I had this. The photograph has eliminated most of the texture and is no comparison to seeing it in person. This was sold to my friend K in 1997 for far too little and is possibly the most finished piece I have made. K keeps it behind his bookshelf because he says it scares him. Whatever. I'm going to buy it back. I have one painting in the works that will double the stakes with over 800 hours, thicker paint, and far more intensity. It's the one called Doug's Painting, which was started before this one, and is the one about which professor Donald Kunz told me "It's like you're trying to play all the instruments at once." In The Garden was started directly after that and finished 3 years later. If I've ever made a painting that was touching something new, this is the one.

this was painted in 1993.

Sixteen Models Moving

The Stupendous Model


The Drawathon was 7:pm- 7:am with 16 models in poses ranging from 10 seconds to 6 hours.

This is a sketch in paint. Much much more can be done with this line.

Lobelia Podmus

Paolo Sleeping