Six Weeks in Nowhereville 2023 Graphite, gouache, ink on toned illustration board 15 by 19 inches
New work on paper , just off the drawing board. Inspired in part by our bumpy ride from LA to Chicago, the final move of all our worldly goods in a bladder destroying rented truck. From our high perch (which is cool, the big rig-ness of it all) David, Viola and yours truly drove through some majestic landscapes. However the bleak desert landscape between LA and Las Vegas has proven the most inspiring .
Forget the imperial mountainscapes frosted in white, the red stone canyons, the luminous sunsets (and rises) , what seeped into my brain (and pencil) were ice cream cone shaped stands, forlorn and abandoned in the sands, galleons left adrift amongst the chaparral , and the countless “Jackrabbit” shacks/homesteads, built with such enthusiasm and abandoned with such a heavy heart. Neon glitz and sham popped up like unwholesome mushrooms we approached Los Vegas. From my bumpy perch I made short handed doodle-notes which trigger memory and move my pencil along.
Doodle note from our cross country move from LA to Chicago, Summer 2022Detail: Six Weeks in NowherevilleDetail :Six Weeks in Nowhereville
The following, an album from that four day trip, late July, early August 2023, I think the quick snapshots convey the nihilistic neon of this fascinating wasteland:
I wasn’t able to capture these peculiar and abandoned ice cream shops, but a google search revealed their history.
From bumpy rental truck to comfy home studio.
Jiminy MuerteSix Weeks in Nowhereville 2023 Graphite, gouache, ink on toned illustration board 15 by 19 inches
The following images are of available art that I have discounted for my upcoming studio sale; generally about half of the regular studio price-some even more deeply discounted due to storage and shipping concerns.
My moving sale will be Saturday July 16th, I would love to see folks in person. If you cannot make it certainly reach out to me (cell 310-498-0817) and we can make arrangements . Payment plans considered, my aim is finding new collectors and good homes for my work. Reach out should you have any questions. Sorry to say , pick up only, I am not available to offer shipping right now.
With that in mind, thanks for considering my work.
The Temptation of Saint Anthony of the Desert 2013 oil on canvas 36 by 48 inches
This is my first of many Temptations, Anthony is a self portrait. Originally listed at $3500.00 now available at $2150.00 (unless my husband asks me to keep it ).
The Apotheosis of Sophia 2014 Oil on panel 24 by 18
Originally listed at $2100.00, now $1250.00 SOLD
The Presentation at the Temple 2014 oil on canvas 40 by 30 inches
Originally listed at $1600.00, now $450.00
The Resurrection of the Father (watercolor) 2013 watercolor on paper, framed, under glass 18 by 24 inches, unframed dimensions
One of the earliest Popol Vuh works, originally listed at $2400.00, now $800.00, handsomely matted and framed.
Icarus 2013 Watercolor on paper 18 by 24 inches, unframed dimensions
Icarus is handsomely matted and framed, was $1800.00, now $400.00/SOLD
Resurrection of the Father (oil) 2013 oil on canvas 40 by 50 inches
Large, striking canvas of the Hero Twins,originally $3200.00, now sharply reduced for swift sale $500.00
Castration of Uranus 2015 Watercolor and graphite on paper 11 by 14, unframed dimensions; matted and framed
Definitely NSF , also nicely matted and framed (I keep framers busy), was $1800.00, now $500.00/SOLD
Patroclus Fallen 2013 or so Pencil on paper 23 by 29 matted and framed
Again, handsome presentation suitable to a Homeric hero, matted and framed, was $1100.00, now $350.00/SOLD
The Anointing 2015 acrylic on paper 20 by 28 inches
My Hero Twins are also nicely matted and framed and attractively priced, originally $1600.00, now available for collecting $750.00/SOLD
Herakles & Telephos 2015 watercolor and graphite on paper 12 by 9 inches, the unframed dimensions
I really like the framing and matting on this work, a playful pink matting adds just the right over the top touch for a mighty macho fellow. Was $1600.00, now $800.00
Jumping Tlaloc 2015 or so acrylic painted cardboard, brads, twine. The size of a small man
Of a series of oversized jumping paper dolls, pull his string, he does a little jig. He is a little shop worn (he is cardboard, his right hand slightly wrinkled). He was $500.00, now $150.00
Lavinia 2015 acrylic on canvas 20 by 16 inches
Lavinia and Second Apparition below were part of a series depicting favorite scenes from Shakespeare’s dramas (Titus Andronicus and Macbeth).
Lavinia was $800.00, now $400.00
The Second Apparition (of Macbeth) 2015 acrylic on canvas 20 by 16 inches
This scene from Macbeth priced as above, was $800.00, now $400.00
Coatlicue 2013 oil on canvas 36 by 24 inches
One of my early Mesoamerican themed paintings, Coatlicue the mother of the war god Huitzilopotchtli, frequently compared to the Virgin Mary of the Aztec pantheon. Originally inspired by a dream, initially listed at $1600.00, now $450.00 SOLD
The Great War God Huitzilopochtli 2015 oil on canvas 12 by 8 inches
Speaking of the Great War God Huitzilopochtli. this small but mighty painting is a fitting companion to the fiery Madonna and Child above. Was $900.00, now listed at $450.00 SOLD
Strange Fruit (Popol vuh series) 2013 or so oil on canvas 30 by 20 inches
Early work exploring the mysteries of the Popol Vuh, was $1600.00, now $400.00/SOLD
The First Popol Vuh 2013 mixed media 24 by 36 inches
The very first of what would be many Popol Vuh works, of Hero Twins, Death Gods, Xibalba the Maya Underworld, martyred Maize Gods, this a theatrical mixed media spectacle . Never before listed let alone shown, lets say $400.00
Philoctotes date unknown oil study on cardboard 24 by 18 inches
I have quite a few studies and daubs such as Philoctotesabove, most priced at $75.00 or so. I also have quite a few drawings and studies for browsing and most likely gifting.
I hope to see you there, again, the date is Saturday, July 16th, 2022, between 11 am and 3 pm at my studio, 6404 Wilshire Blvd., suite 1030 (not far west from LACMA). The building is locked most of Saturday so give me a ring at 310-498-0817 and I can let you in. I can let you in for parking as well.
There comes a point that an artist just needs room, and storing works gets rather expensive, with that in mind I felt it time to actively try to offer my work to potential collectors. The link below will allow you to browse oil paintings, watercolor paintings, acrylic paintings, drawings, soft sculpted Stuffed Paintings-I will post more as I go through my files.
If you have any questions or requests for works not shown please don’t hesitate to contact me directly at neobaroque@mac.com, I’d be happy to chat with you.
LG
Link can be found on side bar under Available Work and here:
I’m very pleased that two of my favorite and decidedly not “family friendly” paintings have been included in this exciting group show curated by the talented Gwen Freeman.
Show details follow:
“Family Friendly” is a loaded phrase for those who do not conform to the hetero-normative model–the paradigm often described as “normal,” “just regular,” or “traditional.”
This phrase, “family friendly” can be interpreted by the LGBTQ community as code for “not including me.”
But, of course, gay, lesbian, transgender, non-gendered, gender-fluid, cross-dressing and queer people are very much a part of families all around the world.
This exhibit seeks to explore that fact, and to celebrate a broader more inclusive definition of family.
PARTICIPATING ARTISTS:
Joanne Chase Matillo * Natalie Egnatchik * Michael Frey * Leonard Greco * Kerry Thorne
CURATOR:
Gwen Freeman
LOCATION:
The AAC Blue Wall Alcove @ Ave. 50 Studio
131 N. Avenue 50, Los Angeles, CA 90042
EXHIBITION DATES:
February 10 – March 3, 2018
OPENING RECEPTION:
Saturday, February 10, 2018, 7 -10pm
Herakles & Telephos 2015 watecolor on paper 12 by 9 inchesThe Castration of Uranus 2015 watercolor on paper 11 by 14 inches
Detail from “My Insignificance is Magnificent”, 2016, watercolor on paper
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.
Detail from “The Doomed Amphinomos”, 2012, colored pencil on paper
It has been a rough week for my ego, starting on Monday with the withering appraisal of some gym bunnies . I was washing up after my work out and I could just feel their chilly disdain for this goofy, ill-dressed, scrawny, not very fit fellow. I felt ridiculously ashamed and wanted to rush out; but instead , this phrase popped into my head, “my insignificance is magnificent”. So I went back to my dainty, silly bicep curls, finished my work out and then proceeded to the studio to work on this little painting. In between painting, school and life, I felt buffeted by life’s indifference: I received several rejections for juried entries that I had hoped to be included in, frankly a benign snarky comment at school that stung nonetheless and the usual brutal election year antagonism on FB …that and just recognizing my own limitations artistically which is humbling. But instead of sinking into my usual depressive funk I instead went to work on this painting. Perhaps it isn’t particularly good but the mantra “my insignificance is magnificent ” was helpful.
Given that it is Holy Week and Good Friday is fast approaching, I have been at work on a Deposition of Christ. My friend and fellow LA artist J have been in a bit of a duel, each tackling this well known subject. I’m eager to see what he comes up with, this is my offering, a watercolor on paper,clicking upon the image enlarges it for detailed viewing.
Descent from the Cross, I
2015
watercolor on paper
11 by 14 “
My intention was to capture the unimaginable grief of those who had born witness. J and I had stumbled upon an early Renaissance gold-ground image in which the attending angels were painted black. That really stuck with me, how unimaginable the loss, that even angels who have seen it all could not control their grief.
I started another Descent yesterday morning, this is the scribbling in…
I am back in class ( English Comp 1-c) and as usual overwhelmed, hence my cobwebbed studio.
If I do not post before, Happy Passover and/or Joyous Easter!
Given that Saint Patrick’s Day is just around the corner and that I happen to be in the throes of attempting to read as many translations of Sir Gawain and the Green Knight as I can, this still-wet painting/drawing seemed fit to post.
The Green Knight
2015
graphite and watercolor on paper
11 by 11″
As I mentioned I am on a Romantic frenzy with an emphasis on Gawain and the Green Knight. So far the Simon Armitage translation of Sir Gawain and the Green Knight seems the most expressive and easily holds one’s attention, it is a real page turner. Thankful to Clive Hicks-Jenkins for introducing me to it.
What I love most is Armitage’s almost erotic description of the beastly yet seductive Green Knight. He is clearly a monstrous sight, green of flesh, massive and brutish; yet beautiful, well built and splendidly attired. A radiant greenish-golden yellow glow,save for the flaming red of his eyes, permeates his being. I was seduced immediately. Hence the image.
In my readings I have come upon numerous interpretations of who or what the Green Knight is. Some have understood his unholy skin color to represent death; some believe he is the devil, yet others believe he is a Greenman or the Greenman’s cousin the wodewose. I want to believe he is not anything particularly malevolent but instead an old god, full of contradictions, light and dark, “good” and “evil”. The complicated duality that the chivalric court of Arthur found so difficult to comprehend with its rigid codes of behavior.
I have attempted to fit all of Gawains future into the blanket of the Green Knight’s equally green horse. There is the unholy beheading challenge, the castle/sanctuary of Sir Bertilak ( the Green Knight’s alter ego), the seductive Queen with her charming bosom, and finally the Green Chapel. The Green Knight and his horse are a writing pulsating tangle of vegetation.
Right now I am reading the latest Penguin translation and next I plan to see what Tolkien thought of this grand tale. The following image, which thankfully I did not see until just a moment ago for fear of undue influence, is from an original manuscript-it’s pretty splendid.
In my ever expanding collection of books , I possess a well worn volume that I treasure dearly. It is The Odyssey of Homer, translated by Alexander Pope and illustrated with lovely line drawings in the manner of Flaxman. As I mentioned, it is in sorry shape, but I picked up this gem for a quarter at the Carnegie Library in Pittsburgh many years ago. I confess I haven’t read this translation, the pages are brittle, the text so teeny I can barely focus on the page. I merely enjoy the book ; its fussy attention to detail, each page framed by an elegant red line, its many musty charms. I particularly love the ornamental spot illustration, micro plates , somewhat Greek (sometimes not) in nature,that intersperse the text; they are often enigmatic and always delightful .
One such micro plate inspired this painting/drawing, Herakles and Telephos.
Herakles and Telephos
2015
graphite and watercolor on YUPO paper
9 by 12″
Initially when I stumbled upon the plate (set neatly between Book XIV and Book XV) I couldn’t figure out what the hell I was looking at. The image seemed vaguely surreal in its composition and in its elements: a big headed man, a putto, a doe (with antlers), a strangely phallic cloud and a menacing raptor. But as I began working on my own interpretation I began to realize I was looking at an image of Hercules and his infant son Telephos. In a nutshell, Telephos born of one of Hercules’ many dalliances, was ill fated, and like the babe Oedipus, sentenced to death, in this case by his fearful maternal grandfather. Our Hero-daddy rescues the boy, entrusting his care to a lactating doe. For a better explanation, this link might help, HERE.
The following is the initial image, blown up quite a bit, the original is the size of a postage stamp; I have no clue as to who the artist was.
If the original was enigmatic, my interpretation might be more so. I of course retained the phallic cloud, and the doe’s perplexing antlers, but Telephos is no mere babe and the raptor/Zeus ( the boy’s grandad) is no mere bird. I’m not going to analyze the drawing to deeply but let’s just say the notion of a protective father figure resonated for me. Session ended.
In this drawing/painting I experimented with a new material, the synthetic paper YUPO ( link HERE). I was introduced to this paper by another artist who extolled its virtues, namely its ability to take a lot of medium and still remain flat and unwrinkled. It also allows for errors in watercolor to be easily removed. Alas it also allows for details you value to be easily removed. It takes a bit of time for paint to set up, and I must figure out how to work with it. YUPO may not be my go-to paper just now but it does have possibilities I would like to explore. It is marketed as a watercolor paper yet it takes graphite beautifully, the pencil glides upon the smooth surface. The following is the drawing before I added watercolor.
Today I will be back into the thick of oils and perhaps venture into a hand puppet ( one idea will not leave my head so I better let it out).
Boondocks Babylon 