Materials and Media: All works on paper presented here are mixed media, which includes color pencil, color marker, ink and pen, collage, and acrylic paint. 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 theoretical collectors of my work.)
My paper of choice is Strathmore’s 500 Series Bristol board (Flat Plate finish), and less so the 400 Series. The former was used exclusively in the production of Blender Kitty comic strips, and for many of the works seen below. The 400 Series provided the substrate for late Profile in Confusion strips, since that quality paper was readily available in tablets and did not require trimming broadsheets (as with the 500 Series). Art pictured in this section is made on both types of paper. Toned paper is also used, but not in these early works.
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.
Also in the 2002 show: Apart from Blessed Event, I had forgotten multimedia works were included in the Los Angeles show until I recently ran across slides given me by the gallery post-exhibition.
The Conundrum: Because drawing comics was my chief occupation during these years, I produced few stand-alone works of art for paper. Snow HemoGlobe, Appendix Appendage, The Glue Factory, and Vitreous Humor show influence of my experimental comics format, as I remained tortured about whether it was still possible to make alternative comics stories at this late stage. These ‘splash pages’ were seen as previews to possible future projects that never materialized. Snow HemoGlobe was sold through The Rico Gallery in Santa Monica in 1998, while the cover for Epic Dermis n2 was sold through La Luz de Jesus Gallery prior to the 2002 show. Selling these comic pages as ‘works of art’ did not encourage me to pursue alternative comics as a speculative venture where comic strips and stand-alone works on paper generated income.
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