Cerberus, 2009 12.5cm x 21cm acrylic on posterboard
The Psychopomp, 2009 48cm x 31.5cm acrylic and charcoal on 65lb paper
Rabbit is an Earth symbol, by virtue of the fact that he is so close to the ground, and lives partially in the ground itself. He could convey, symbolically, a need to center oneself more, for instance. He could also imply stodginess, for that matter, a sort of “stuck in the rut” kind of energy that happens to us all at times.
Rabbit is also a symbol of the archetypal “Trickster” in world mythologies.
Brushes MMVI-MIX, 2009 acrylic and charcoal on 31.5cm x 48cm 65lb paper
I don’t maintain my brushes very well and I keep them for far too long. Yet it is difficult for me to replace them. One, them shits are expensive. Two, a strong attachment builds over the course of my relationship with them. As I leave the brushes soaking in water, because I just need to run out to buy tortillas and that trip turns into a twelve hour meandering digression, the bristles slowly disintegrate and loose their form. Many times, through my neglect and general manhandling, these custom brushes force me to develop new techniques or allow me to create new textural strokes.After this memorial piece I tossed this batch of brushes*. Thanks for everything 2006-2009 brushes.
*I actually kept four of them.
Leda with Swan Approaching, 2009 60.5cm x 121cm acrylic on canvas
I have a particular interest in the time and events that precede “important” moments. Such as the processes that lead up to a chemical reaction, the five shots taken just before a Pulitzer Prize winning photograph, or what someone was doing right before an earthquake hit. So in allegorical paintings, especially ones which have been repeated throughout time, my approach is to address these spaces prior to the event. In musical terms, the rest before the note. In Leda with Swan Approaching Leda sits doodling a pentagram, symbolic for conjuring, while the swan wildly approaches. At Leda’s side is a dead rat and and a facis (bundle of sticks). These two elements are editorial symbolism saying “there’s something that stinks about this story and it has the odorous quality of fascism.” For those still unfamiliar with the story of Leda and the Swan, I came across this recounting of the story written by someone who is as equally nonplussed by this bizarre tale as I am and they also included several images from art history so, two birds one stone.
Leda (Little Miss Queen of Darkness), 2009 acrylic and charcoal on 31.5cm x 48cm 65lb paper.
In Greek mythology, Leda (Λήδα) was daughter of the Aetolian king Thestius, and wife of the king Tyndareus (Τυνδάρεως), of Sparta. Her myth gave rise to the popular motif in Renaissance and later art of Leda and the Swan. She was the mother of Helen (Ἑλένη) of Troy, Clytemnestra (Κλυταιμνήστρα), and Castor and Pollux (Κάστωρ & Πολυδεύκης, spelled Kastor and Polydeuces).
East Bay Chargers, 2011 31.5cm x 48cm acrylic and charcoal on chipboard
Everyone Is Afraid of Falling Backwards, 2009
This 61cm x 101cm acrylic and charcoal piece on 75lb paper was done two weeks before The Great Layoff Wave of 2009 swept through the advertising agency where I was employed at the time. Humans are born with two fears: the fear of falling and the fear of loud noises. All other fears are acquired.