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 Gallery of Painting: 1998-2002

Return to Painting: I cannot say when I restarted painting after my extended lull. The few paintings presented at the end of the Portfolio pages comprised that inactive period, which continued through the early Nineties. I first exhibited with low-brow artists in 1998 at The Rico Gallery in Santa Monica, by which time I had made several works found on this Gallery page. My slight reputation owed to an article featuring my work that appeared in Art?Alternative Magazine a year or two before that. None of the paintings here were in that article (I believe). All were earlier works seen in the Portfolio Pages.

The paintings below include all of the works shown in the two-man show (with Scott Musgrove) at La Luz De Jesus Gallery in 2002 in Los Angeles. There has been no complete stoppage in my painting since this exhibition, although my work did slow to a trickle while I worked on my novel throughout the early Two Thousands, and also into the late Two Thousands once I returned to musical composition. Presently I divide my time equally between all my activities, which is to say I work at a snail’s pace on everything I undertake.

I supply titles to works featured here but, regrettably, no other information. Fiber Optical was painted on linen, and was commissioned by an ad agency in Barcelona, Spain for Diesel Jeans in Milan, Italy. To my best knowledge, no other work of mine resides overseas. The rest of the paintings seen here are on canvas. None are especially large, and a number are small.

Monsters: The monsters of my childhood in the Sixties were whimsical and improbable, whereas in today’s era of CGI, monsters appear to suffer the general disease of our time: scientific literalism. After the novelty of the realism wears off, the ad hoc imagination is left no corner into which it can flee and recuperate. My creatures aspire only to be impossible.

 

Arcimboldo_Ant_Farm

Arcimboldo Ant Farm

 

Brussel_Sprout_Cheesecake

Brussel Sprout Cheesecake

 

Digital_Savant

Digital Savant

 

Nymphs_of_The_Elbow

Nymphs of The Elbow

 

Fiber_Optical

Fiber Optical

 

Pleasing_Fungus_Barbie

Pleasing Fungus Barbie

 

The_Gobbler

The Gobbler

 

Green_Bunny_Green_Dinner

Green Bunny, Green Dinner

 

Kinderszenen_und_Gastropod

Kinderszenen und Gastropod

 

Quantum_Defects

Quantum Defects

 

Refried_and_Relinquished

Refried and Relinquished

 

Ruptured_Groceries

Ruptured Groceries

 

Spooks_of_The_Eyestalk

Spooks of The Eyestalk

 

Red_Sushi_Sleep

Red Sushi Sleep

 

Table_of_Periodic_Objects

Table of Periodic Objects

 

Lymph_Node_and_Tar_Baby

Lymph Node and Tar Baby

 

Oracle_of_Staplers

Oracle of Staplers

 

Withered_and_Rigid_Dwarves

Withered and Rigid Dwarves

 

Gallery of Works on Paper: 1998-2006

More Monsters: Works on paper (by which I mean drawing) are to painting what chamber music is to the symphony: Away from creating war horses and other monumentally significant work, the intimate “no-pressure” mood that surrounds a pencil and piece of paper can be liberating. Often in these settings one finds an artist’s most daring and original idea.

All works on paper are mixed media, which includes color pencil, color marker, ink and pen, collage, and acrylic paint. Of these, acrylic is the most rare, and in fact I no longer use acrylic at all except as an occasional canvas primer. When I first started painting and was more experimental, I used acrylic liberally, and even latex enamel house paint. Such is the constitution of a thriving but unprofessional art student. (I am more “archival” these days, for the benefit of potential collectors of my work.)

My paper of choice is Strathmore’s 500 Series Bristol board (Flat Plate finish), and also the 400 Series. The former was used exclusively in the production of Blender Kitty comic strips, and for the works seen below. The 400 Series, which is offered in tablet form, provided the substrate for most of the Profile in Confusion strips. Koh-l-Noor rapidiograph pens are unexcelled for drawing, but due to their temperamental nature and difficulty in cleaning, I stopped using them years ago in favor of disposable archival pens. (I wished, somewhere along the way, I had taken up ink and brush.)

In recent times I have used other papers of similar quality, including Borden and Riley. MM

Unfortunately I do not provide dates of completions. I was in the habit of signing and dating the year on the back of my work through the Eighties, but got out of the practice when I gave up any notion of having a career as a fine arts artist.

 

Arm_Fed_Fledgling

Arm Fed Fledgling

 

Air_Apparent

Air Apparent

 

Bird_Whistle_Idyll

Bird Whistle Idyll

 

Blessed_Event

Blessed Event

 

Contrived_Exits

Contrived Exits

 

Appendix_Appendage

Appendix Appendage

 

Ganesha_G'nop

Ganesha G'nop

 

Glue_Factory

Glue Factory

 

Voices_of_Jellies

Voices of Jellies

 

Molar_Etude

Molar Etude

 

Navy_Beanery

Navy Beanery

 

The_Object_Given

The Object Lesson

 

Portable_Muses

Portable Muses

 

Snow_Hemoglobe

Snow Hemoglobe

 

Sugar_Chronic

Sugar Chronic

 

Taco_Rasa

Taco Rasa

 

Tightie_Whitie_Tamperproof

Tightie Whitie Tamperproof

 

BK images/The_Tin_Ear

The Tin Ear

 

Upholster_Larva

Upholster Larva

 

Vitreous_Humor

Vitreous Humor

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