I have the good fortune to be included in a group show curated by my talented friend Rachel Gibas , the opening reception, this weekend at Coagula Curatorial on Chung king Rd., here in L.A. I’m very pleased and look forward to the opening. I’ve been informed that the exhibition is opening earlier, 5pm, which is fortunate as we have tickets for Orpheus & Eurydice that very evening, so I may enjoy Gluck and the company of my art friends.
I have also received final word that my solo show at MOAH-Cedar has been officially scheduled with an opening scheduled February 23rd 2019. A little less than a year away, which on one hands seems the distant future, but I have much I wish to accomplish before that time I recognize my desires will always outweigh reality-that is the nature of existence after all, books that will never be read, new friends never to have met, new vistas never to be beheld…yet we strive forward. That, in a nutshell, is my “studio practice” (ugh, that is such a pretentious phrase), the blind optimism of reaching towards an un-climable wall.
All that said, I will be stitching, painting, drawing, sawing, glueing, cussing feverishly to fill this space-horror vacui.
Today is the official first day of my residency with Shoebox Projects, here in Los Angeles. The residency is a little over a month allowing for the holiday interruptions. The unveiling of the work will be Saturday January 13th, 3-6 pm; link to the event: https://www.facebook.com/events/1994368064109763/.
As I embark on this exciting opportunity I wanted to first clarify my thoughts, the following is my statement of intent for this installation which I call Embodied: St. Anthony and the Desert of Tears.
Embodied: St Anthony and the Desert of Tears
The anchorite’s cave , the hermit’s lean-to and the studio of an artist are ideally a place of solitude, reflection and self discovery.A place to contemplate upon the divine , be it the godhead or the muse .
Yet this desired solitude is frequently tormented by demons, external and internal, distracting temptations seductively masquerading as duties or obligations, understandable commitments such as those to family, health and home are inevitable. These realities must be tended to with balance and discipline.
Yet more pervasive is the insidious influence of social media and the subtle influences of “community”, the chattering world , which frequently, at least for this seeker, stirs up emotions of self doubt , insecurity, timidity , and a call to conformity. Even within the sacred space of the studio one can be tormented by an almost adolescent peer pressure, the hive mind buzzing about can be deafening . Community, particularly amongst artists, is currently highly valued , perhaps a reaction against Individualism. But why ? Haven’t we the spark within? For although I treasure the fellowship there is also a very palpable anxiety ( again exacerbated by social media ) to compare and judge oneself , frequently unfavorably, against ones peers.
My inspiration for this mixed media installation is drawn upon the well known narrative of the Early Church Father , St Antony of the Desert and the hermit’s own struggle with demons. It is in the tradition of depicting Anthony ‘s demons playfully that I wish to explore my own struggles.
Oscar Wilde famously said that an artist’s duty is to make art “…for his own pleasure, and has never asked the public what they wanted …”.
This is an extreme, perhaps arrogant , isolationist stance yet if one recalls ones childhood , mud pies were made for the pure delight of the making. It is in this making , unfettered by opinion , second guessing or concern for that ever-elusive societal “relevance” that the artist must center their practice . For it is my belief that is where true art is found .
This anchorite hopes to do just that during this residency.
We were fortunate this Thanksgiving break to spend the holiday in divine desert isolation (Twenty Nine Palms, CA), renting a small cabin, free of distraction, bathed in blissful silence. It was much needed balm for us both and has provided inspiration for this project. A few images follows:
The property has a wonderful abandoned cottage, it provided added inspiration. Trying to incorporate some of the images into Embodied.
In reading the narratives of the Early Church Fathers one is struck by repeated themes: temptations of lust, boredom, the perils of isolation. One recurring motif that I found particularly amusing was the desert desire for cucumbers. A reasonable desire perhaps, but the Freudian associations were hard to dismiss. Surprisingly, adjacent to our rented cottage, stood a date farm planted upon an oasis. The laborers had tapped into the precious water and planted gorgeous pumpkins and squash; they seemed a fitting reference to the hermit’s cucumber.
Eager to begin to assemble my multiple elements. I have a sense of intention, but as with all plans (and art making), change is inevitable. Please wish me luck.
I am currently focusing upon an upcoming December residency with Shoebox Projects here in LA. The last month has been spent fashioning figures such as the comely fellows above. The figures, what I call Stuffed Paintings are essentially dolls, dolls play acting an existential tableaux that I have called Embodied. In the spirit of Neo-medievalism I am tempted to call the dolls Mummers. The latest Mummer is the red figure in the foreground.
Proserpina, Archdiablesse, Princess of Evil Spirits is typical of the Mummers I have in mind for my revamped Mystery Play centered upon the trials and tribulations of the early Desert Fathers, most particularly, St. Anthony (and his legion of troublesome demons). Proserpina is also a bit of a gender play as are most of the characters. Gender role and “appropriate” performance being explored and expanded upon.
With Embodied I am also eager to explore the concept of withdrawal from worldliness, so beloved by the early Desert Fathers yet so elusive, so prone to “failure”; I find myself, in this age of constant performance (social media, self-branding, creating content suitable to absurdly small attention spans) alluring and terrifying. I have struggled for the last few weeks to at the very least disconnect the Facebook app from my phone, but even that minuscule rejection of worldliness leaves me anxious and insecure. How did this happen, and what shall I do about it? Can balance be found?
For now I am focusing upon my desert tableaux, my Mummers and perhaps costumes, perhaps even performance of some sort. The following are a few of the Mummers thus far.
Pierott is perhaps the most emblematic of the Mummers. As a queer boy I was fascinated with the commedia del’arte , particular Pierott, his melancholy and chronic heartbreak was both familiar and comforting. I knew the gist of the comedys and I attempted to recreate them in the little shoestring theater I set up in our suburban basement. All went well with my spit-and-glue scenery and costumes, the problem being actors (and an audience). Given that I was the eldest of six siblings I thought recruiting my siblings would be a cinch. I was wrong, they, my brothers in particular, balked at the faggoty-ness of it all (my father agreed with this ) and after several very lame attempts, the show did NOT go on.
My brothers to this day still mockingly gripe about my directorial bossiness; and I still feel hurt.
Stuffed Mummers, mute and obedient, would have been a better solution.
Al of the figures begin life as a sketch, sometimes just a random thumbnail drawing.
I find further inspiration from multiple sources,such as this manuscript illumination.
The making of Embodied is in itself a reaction against set gender roles. The stitching, the quiet needlework , historically determined to be women’s work is for me deeply enjoyable. Yet when I go to the craft and sewing emporium I feel conspicuously male amidst a shop full of Glendale housewives. I catch myself (pitifully) trying to butch it up as I clutch my fistfuls of gaily colored embroidery floss and sparkly trims. Usually I chuckle at my own absurdity and proceed to the cashier. But the sewing, what may have been women’s work , is now mine as well.
I still have much to do, so much more stitching and painting and thinking and writing , yet I am determined to enjoy this time. To forgo elusive perfection and instead allow the process to unfold, hopefully revealing new directions , new intentions or solidifying ambiguity.
This fellow is based upon a strange tale told by one of the Desert Fathers. Locked in his desert cell, the unrelenting sun pulverizing his devotion, he suddenly, lustilly desired a cucumber. One can sympathize but the symbolism is amusing. That figure is next on the sewing table.
I also plan on a crucifix, this being the beginning of the Corpus.
Thanksgiving approaches and we are preparing for our own desert holiday in Joshua Tree , we’ve never been there, so I look forward to being inspired.
My current body of work that I have placed under the encompassing umbrella of Fairylandis an ongoing project, transforming itself almost daily. Ultimately it will be a large and complicated installation project involving diverse disciplines: painting, fiber art, printmaking and possibly some performance. A classic example of gesamtkunstwerk.
Ultimately given full expression at my 2019 solo show at MOAH-Cedar in Lancaster CA. I also have a month long residency with Shoebox Projects in December where I will further examine this magical place I call the land of fairies.
But in the meantime I am submitting Fairyland for possible solo shows. The following is my latest submission, and let me tell you applying for residencies or submitting for solo shows is on par with the Harrowing of Hell. Shaken and now nervous, I know I’ve done my best. Rejections have become a part of my reality, but in my heart I know this could be a pretty nifty show.
The following is what I presented.
Wish me luck.
Grappling with ways in which to express “being-ness”, I find myself reaching beyond my usual studio practice of painting into diverse disciplines including fiber-art figures . The figures are fashioned by fully embracing the pre-conceived “sissy” element of this art. Thus exploring my identity as a queer and terrified man, the series validates a long suppressed self loathing.
“Fairyland” an ongoing project, bears a title once a slur, now declaring a message of empathy, pride, and hopefully, humor. Embracing the fairy has been empowering ; the art created expressing a spirit of furtive repression breaking free.
The following is a “walk through” description of what I propose:
“One enters Fairyland through a swagged theatrical portal, embellished and festooned with luxurious passementerie, the ornaments fashioned from trashed rags, the “rich” cloth of stitched and patched recycled fabric, all evoking a glorious if tarnished sham splendor .
This initial dramatic entrance into the Wurdemann Room is not mere camp , it is a sincere appreciation for aesthetic visual redundancy, one that is deeply personal and I believe a trait familiar to the queer aesthetic, the need to elaborate, to further explain.
To offer alternative truths.
It is in the elaborations that I explore familiar cultural narratives through a queer prism, doing so in multiple mediums: stitched and painted fiber art , relief prints, book making, drawings, easel and wallpaintings .
Once entered, the visitor encounters a hushed dark room , it’s walls swaddled in lush fabric , faint chants heard muffled behind the plush. At the far end of the gallery an elaborate neo-baroque mirror hangs, confronting the pilgrim with a chilling memento mori. The mirror titled Reflection of a Harsh Super Ego is of mixed media and fiber arts and is flanked by near life sized fiber-art figures such as Daphne and Icarus which act as sentinels of life, death and transformation.
To ones right and left, floor to ceiling (faux) tapestries entitled Orpheus’ Lament and Eurydice’s Response (of painted and stitched un-stretched canvas), depict alternative tellings of the Orphic drama.
As the Wurdemann gallery is set as a private salon/wunderkammer with approximately 12-15 pieces, various paintings such as the large scale oil paintings Goblin Market and Hadesville will be interspersed amongst the “tapestries”.
In the center of the chamber, on an elaborately draped library table, one finds hand blocked , hand stitched books, opened for viewing. Further stitched and painted figurative ornaments also bedeck the table’s surface .
Sensory overload is the desired affect in this gesamtkunstwerk that I call Fairyland- this particular Fairy’s private retreat made public.”
The last few weeks have been a whirlwind for me, I’m trying now, not very successfully, to collect myself. Between the move into a new space, multiple shows and now an inferno has set upon the City of Angels, I find myself quite discombobulated. Now that I have a semblance of internet (thank you Hotspot, whatever the hell that is), I feel less adrift.
To procrastinate, I’m enclosing a few images from recent shows, “Satan’s Ball” at Art Share LA and more recently, this last weekend’s “Fairyland”, my solo show at Ave. 50 Gallery.
A pleasant surprise was meeting the photographer Stephen Levey who took some excellent images of my work. I was quite delighted to see how he captured the moodiness of my figures.
I’ve tried for some time to capture my first “Temptation of St. Anthony of the Desert”, Stephen, seemingly effortlessly, snapped a great image.
The preparation for the opening of “Fairyland” was daunting, with packing up the old studio, moving into the new and all the details that go into a transfer from one place to another, I was rattled. Particularly grateful to Dan Fernandez who handled my installation expertly.
In the end it all came together and the opening was just splendid…hot as Hadesville , but splendid.
I was so touched by how many of my friends stopped in, in spite of a plethora of competing openings, in spite of the gallery’s rather isolated situation and in spite of the terrible heat. In spite of that , the support was thrilling. Thank you my friends, friends I’ve known for awhile and to the new ones I’ve just met.
Art making is isolated work but it is the community one finds that encourages and delights. I’m pretty delighted at the moment…in spite of fierce Apollo.
My love of the baroque (and the subsequent revivals) is long standing, so much so that I built my previous career as a decorative painter identifying my craft as Neo-Baroque. As a studio painter I still find the allure of the baroque irresistible and in my latest work Reflection of a Harsh Super Ego , I attempted to capture the florid excess of the period.
This work is an extension of my “stuffed painting” series which constitutes a large part of my latest body of work Fairyland. Ostensibly this latest piece is a reflection upon such cheery topics as existential angst, mortality, self-worth/esteem and of course, aging. It is also hopefully funny, a memento mori with wit.
Utilizing fabric allows me to explore the funeral lushness found in over- upholstered baroque furnishings, particularly the decidedly non cozy state beds:
Daniel Marot, the designer of the state bed above was a master of baroque theatricality. His designs for court furnishings are astounding , so inventive, whirling madness yet an underlying balance. I can easily stare at his compositions for hours, and I have. My aforementioned decorative work was directly influenced by Marot and his contemporary Jean Berain.
So it was of little surprise that I would return to the wonderful fripperies of Marot and Berain. I particularly admire the baroque compositions that incorporate a writhing pool of figures, sensuously colliding with one another yet all forming a cartouche, a mirror frame or cabinet. The mad fusion of sculpture, ornament and perhaps some functionality.
My fripperies and atlantes may not be of ormolu, ivory or silk but they are roiling about in a nutty baroque manner.
In his excellent Baroque Baroque , the art historian Stephen Calloway refers to a British baroque revival as “bugger’s baroque”, apparently a witty retort to queen-ish decorative excess. I like to think my “mirror” might have earned that title. Being that The Reflection of a Harsh Super Ego is a further exploration of “sissy” arts, and an element of a larger body of work called Fairyland, I think it has earned that distinction.
Reflection of a Harsh Super Ego will be part of an upcoming solo show at Ave.50 Gallery, 131 N. Avenue 50, Los Angeles, CA 90042
I finished this painting several weeks ago, but needed to step away from it a bit, literally and figuratively. It is a large painting and that is the direction I would like to take with my studio practice. This painting is in many ways the impetus for my moving studios. I’ve simply run out of room at my charming current studio.
But this has been a long journey, nearly two years, from bringing what had been a seemingly simple response to Christina Rossetti’s incredible poem of the same name, a simple pencil sketch, to this large canvas.
Before heading off for Philadelphia in the summer of 2015 I made this sketch, dashed it off really.
I was entering a summer program at the Pennsylvania Academy of Fine Arts and I hadn’t really any concept of how to focus my time. Materials needed to be shipped and I felt overwhelmed logistically. Plus I suffer emotionally from being separated from David and the pups.
I’ve posted before about the PAFA critique program, at times bitterly, but in hindsight I realize how unprepared for the experience I actually was. I now feel, a few years later, that I could approach the experience with more confidence and intentionality (is that a word??).
Perhaps some other summer.
Without a real game plan I decided pretty much on board the plane that Goblin Market was to be my next project for the summer. Part of what I had hoped for with the critique program was to loosen up mentally and creatively, and my little sketch , which I had so enjoyed drawing, would launch me in the right direction. Or so I hoped.
The following are some sequential images of its making.
I pause here because this is where strife began between me and the program director , she insisting that this was a finished work, and I insisting it wasn’t. I envisioned a more polished painting and she wished to “free” me from what she perceived were constraints . Again, in hindsight, I feel I could now express my intentions with more clarity, but at the time I felt crushed and confused.
I persevered but warily.
This image is where I left it at PAFA, unable to finish , I rolled it up, threw it on the plane and allowed it to languish in my studio. I tried avoiding it frankly. Then, in 2017 I decided I needed to face the painting once again.
I’ve tweaked it a bit since this next image, but I now believe it to be finished…for now.
I have a solo show coming up in July, its a small show ( Goblin Market will most likely make its debut), a gallery within a showroom I enjoy showing in. I am excited. It is my first solo show and in many ways it is a clarifying experience.
I’m grappling with what I want to say as an artist and as a person . What is my contribution in this dialogue of life. The window we are given is open ever so briefly, and as I feel I have only just recently entered into myself, I desire to do so fully.
My show will be called “Fairyland”. It is a concept I wish to explore in depth; I will be putting together more extensive proposals for other solo shows, so this show in July is the model.
The following is a revised statement for “Fairyland”:
“At this stage of my life, off center of a century, I am grappling with ways in which to express my “being-ness”. Unable to avoid the “who am I “ question any longer, I find myself ,as a visual artists reaching beyond my usual studio practice of oil painting into diverse disciplines including figures in the round.The figures are essentially dolls, and are fashioned by fully embracing the pre-conceived sissy element of this art. It is in this extension of my practice that I am exploring, at this late stage, my identity as a queer and terrified man; the specter of the pansy boy I was, being given new voice in my latest ongoing project “Fairyland”. It is in this new series of projects , where paint, needle and thread give expression and validation to a long suppressed self loathing.
The very name “Fairyland”, a word once delivered with bloody blows transcends beyond with a message of empathy, compassion. pride, and I hope , humor. Reclaiming the fairy has been empowering. The art I attempt to create is intended to express the spirit of furtive repression breaking free.”