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ihet – january  2018 – issue 231

Bang, bang, bang . . . twenty seventeen  . . .  it’s done and gone and I’m thinking a quick review is just the ticket.  So this is it . . . a year of paintings and an brief inside look at how the Monuments Series of sculptures came to be.

I like the idea of mixing it up, compare and contrast. The paintings are shown in pairs, partnered up by virtue of the same inexact science that helps drive my creative process. The first image is of a new painting The Sleepwalking Beast (#31), all other paintings are from this year’s posts.

The Monuments have dominated my recent creative output. Beginning as a pleasant byproduct of organizational efforts, they’ve assumed a life of their own. This second grouping of photographs show the early development of the work, from creative play to the first primitive vignette. The subsequent  photographs are reproductions of the background scenery taken from the finished work.  A note on my photographic efforts. I relentlessly document my world in pictures. Besides a simple record of time and energy, these images end up being source material for my work, including the original urban images for the monuments. The landscape image is taken from a paint by number from my collection and the list is from my notebooks. Theses images have been digitally manipulated for this work.

For a closer look at The Monuments click here.  For more on the paintings please go to  click on Archives. Here you’ll find a list of posts from the past years, select a month and year and enjoy.

Thanks for reading.


Notes on pesky problems, looking in on medium large nuts and bolts, and seaside for the soul.

ihet  july/august 2017  issue 228

This is my most recent pesky problem. I’m nibbling around the edges, to no avail. So I just look at it. and wait. Then ignore it, and wait. Look at it, and wait. Thing is, there’s always an open-ended space somewhere in there, a questing needing a proper answer, and dumping some thoughtless thing into that space, simply because I can, defeats the purpose. So I’m ok with the patience and perseverance the process requires.

I don’t get tied up in creative knots. I just go where curiosity leads, and most recently, that’s constructing compact stage-like vignettes.  These interludes begin where the narrative qualities of the paintings leave off. Looking in on medium large nuts and bolts.

O’ Those Beach Days. The customs of a well polished routine, illustrated.

Wherever your summer happens to take you . . . have a good one . . . and thanks for reading.

Thanks for reading.


How To Assemble The Kite (One Hundred Seventy Nine By Eleven Cubed)

ihet  june 2017  issue 227

How to Assemble the Kite  is the other one. Eleven drawn, cubed, and liberally applied to one seventy-nine.

I like the process of melding these identities. The mixing of fragments to an ordered fashion. Steps faithfully followed and applied to canvas. Its structure, a guiding principle, woven into the fabric of transformation.

It started with the temporary sculptures. Mostly small assembled groups of things, digitally documented, the pieces dispersed. Now the parts stay together. Stories collected, intermingled and named.  Machine painting the end of time and the hole to fall into.

Thanks for reading.