Full Circle, Fairyland, permanent collection @ MOAH

Detail from The Anchorite’s Armchair, 2019


It was a great relief and satisfaction earlier last week when I saw four of my works , carefully packed, pull away from the storage unit (where they have languished in the dark since my 2019 solo show Fairyland at MOAH/Cedar) heading forward in the nifty MOAHmobile to the permanent collection of the Lancaster Museum of Art & History (MOAH) https://www.lancastermoah.org

With our upcoming moves, this new chapter in our lives, a new home in Chicago, the sale of our beloved Little Hermitage, renting an apartment in LA, so much needed attention, a prioritizing of intention and  a matter of settling affairs. I cannot deny that I know this next chapter, the Chicago period, is most likely my last. The previous chapters have been abundant and I have had the good fortune and opportunity to be rather productive; but that productivity , particularly the works I created for Fairyland  


have been larger than my domestic life can easily accommodate (not to mention collector’s). 

With this realization in mind, I have been determined to get my work out there, I’ve been encouraging collectors with reduced pricing on selected works (link above in Available Work), and I also want my work to be in permanent public collections. Having had the good fortune to have a solo show at MOAH/Cedar,https://www.moahcedar.org/exhibitions-1/fairyland

MOAH seemed a natural fit. Happy to say MOAH felt the same way, for that I am grateful . When I made the initial inquiry I felt quite nervous,  a bit like the goofy nerdy boy asking the pretty, most popular girl to the prom. Thankfully the pretty girl said yes.

The works included were the first two offered, The Anchorite’s Armchair (2019) and Lilith,the Mandrake (2018), the anchors to my installation Embodied: St. Anthony & the Desert of Tears:

The Anchorite’s Armchair
Mixed textile , acrylic painted canvas IKEA armchair
Approx 65″h, 42″w, 65″d
Lilith the Mandrake
Mixed textile, acrylic painted canvas
Approx.6’6″h, 6’w, 6″d

With these works enthusiastically accepted, I was gratified that there was interest in other works as well. With that in mind , two other pieces, another textile piece and an oil painting (also created for Fairyland) were selected :

The Swan Slayer Parsifal
Mixed textile, acrylic painted canvas
apron 65″h, 41″w 87″d
The Swan Slayer Parsifal,
Oil on canvas
24 by 36 inches

So with that, its full circle.


Detail from The Anchorite’s Armchair, 2019



A Critique, unsolicited but tickles the heck out of me…

Pluton ready for the holidays, 2020


The following is from my Facebook account, a response to a Christmas posting I made featuring my adorable Pluton, Prince of Fire, Governor of the Region in Flames. The review, arriving some time post Yuletide was in response to the below, uncensored version. Initially taken aback by its frankness, now just delighted by it. Compelled to save it, share it:

“This makes the Grinch look like Little Miss Muffit . When I look at your work I ponder would Pope Francis laugh or pass out . Hug you or summon the Swiss Guard . Invite you to do a showing or send out a global ban . Praise your creativity or retire to the Vatican Archives and ask some researchers to reasearch  unusual spritual conditions . Since your partner is an analyst I know your mind has been examined in every way possible known to mankind . I have to say your art shocks me every time . In a way that is often uncomfortable  and I always would love to modify it … This guy makes the scariest clown seem normal . I try not to project onto your art but can’t help questioning the inspiration behind it ? It is not whimsical . It borders on deranged serial killer but I know your instincts are contained by your religious upbringing , devotion , literary development , and obsessive compulsive  discipline that this art takes . Still  100 years from now :experts might be analyzing your work and hypothesizing  about core values , obsessions,  all kinds of stuff . There is a whimsey . Bosch and the other classicists inspire you I guess and this is modern . I could say carnival funhouse because you are such a lovely man . But the intuitive , spiritual , wholesome part of me always gets this uncomfortable feeling  about the source that drives you . The demons . You espouse humor yet some how  I feel other demons are channeling through you , using you . I would love to see the Pope’s and College of Cardinals response to your body of work in person and have the strength to accept the truth that I see .  In the least everything you do evokes the unexpected . Please do not be offended by my honest response . Your work is so brutally honest that I can’t help give you a response . No imitation here . Definitely  all from you : your own genre which yet needs to be named . You are not a student of anyone : no artist proceeds you : you qualify as an ” Outsider” I believe . Completely original , self taught . Even if you are school trained : there is no previous precident for your art . I cannot tell if your art is a Cautionary tale , a Psycic eruption , Deviant , Maudlin Whimsey , a Dreamscape ? My perception of hellish must be my projection . That doesn’t seem to be your overt intent . Could be considered modern Surrealism?  Or maybe you wanted to design children’s toys for Mattel and they wouldn’t hire you and here we are . I guess the purpose of art is to evoke?”

The image that elicited the above response.

Anyway, I was delighted.

Pluton ready for the holidays, 2020


A look back; a glance forward to a new chapter

        As mentioned in a previous post 2020 was by most standards a rather dreadful year. The dreadfulness obvious enough I needn’t belabor the point. Yet I worked through it, not only psychologically but in the studio. It seems, going through my photos that I painted about six paintings, stitched together a half dozen textile folk, made quite a few of my jumbo paper-dolls and my rather consistent studio practice of daily drawings filled quite a few folios- I fear quantity reigned more frequently than quality at times.

But studio wise, a rather decent year.


Selection of works from 2020.

      I’m sensing, hoping , 2021 might be better yet. I’m feeling a new chapter in my life. We’ve begun the incremental steps to relocating to Chicago, given David’s  psychoanalytic practice this requires delicacy and sensitivity , not my  general rash readiness to move, obstacles be damned, full steam ahead  forward. But given the constraints,  I sense one chapter closing and another beginning. We will be in an in-between limbo state for the next two years, my studio, his practice here  in LA, we’ll be renting a small apartment in Los Angeles close to the office/studio and once our Little Hermitage has sold purchasing an apartment close to Lake Michigan. We spent the new year downtown this (last) year and feel we’ve a better sense of what feels like home.

      But studio wise, I am feeling a new chapter as well. My work in Los Angeles has been frequently  bold (its been called tacky) in color, admittedly outrageous at times, overtly sexual initially (its been called pornographic), and frequently a bit smirking (but never intentionally ironic). I’m now feeling an inclination towards less of  that.  Not sure how this will develop but in clearing out my studio, a pre-spring cleaning, I found myself  eagerly tossing  out many of my frankly depressing thrift store schmattas  I had been using in favor of richer velvets and brocades.

   Perhaps an embrace of more “serious” intention is in store for me , a growing sense of confidence, an entitlement to a  personal voice, to not fearfully hide behind a smirking mask because , God forbid, I actually take myself and my work seriously.  Which I do, but in spite of self doubt so fundamental to my being,  I feel I am developing  confidence  that my voice might, can be, taken seriously and that recognition begins with me.  This heretofore has been contrary to my entrenched insecurities. 

   All that said,  a degree of humor will always be present in my work and in my personality; that is my nature as well

Detail , “The Temptations of St.Anthony of the Desert”, 2018, oil on panel

In the meantime I am very pleased with this interview with the Verum Ultimum gallery in Portland Oregon. I am honored to have one of my favorite paintings included in Generous Kingdom V,  a diverse and exciting collection of work. A great deal of gratitude to founder, owner and curator Jennifer Gillia Cutshall. Please visit the gallery’s website for a complete virtual experience.

The Temptation of St. Anthony of the Desert
Oil on panel
18 by 36 inches

The interview follows:



Detail , “The Temptations of St.Anthony of the Desert”, 2018, oil on panel