Wow, it's been a while since I posted. The move of Tyler School of Art to Temple's main campus has zapped all of my energy and free time. However, as things slow down the free time increases. Hopefully, the posts become more regular again. I just wanted to throw in a photo from my archives. It's amazing that I have the associations to accumulate photos like this. But, I do. Militia training or gimp training, however you want to look at it. This is why terrorists must attack us from a distance- we Americans are plenty terrorist to scuffle against them.

A Knight's tour

Pete Shelly is a homosapien, too.

Sally Mann, Deep South #22

Sometimes it seems poignant where we draw our own influences. In 2006, I worked at Columbia Museum of Art as Assistant Preparator. During that time I hung a show of garden photographs, of which uncluding two Sally Mann photos: one of the Deep South series and the other of Edward James' surreal garden in Las Pozas, Mexico. Needless to say, I was blown away and my drawings have never been the same. They are very much graphite and charcoal interpretations of Mann's process in toned gelatin silver prints, but of my own subject also in Southern dialect.

The party at Frankford and Cottman Ave after the Phillies won the World Series: This may be the most incredible experience of my life. When do you ever get to pour into the streets, drink, shake hands, high five, and hug with complete strangers, your neighbors, and every other nutcase in a city? Needless to say, this party went into the wee morning hours and no one wanted to go home.

Early renderings: Notes on Reconstruction #1, #2

If I remembered a Christmas tree.

Another piece uploaded to the website. I feel like I am finally on a roll. I think I have decided to indirectly incorporate everything I remember of Henry Miller's writing into my artwork. It may be just how I approach the work, who knows. Regardless, it is the offensive strategy that exudes confidence in the work. Of course, to say offensive and Henry Miller in the same paragraph eludes to one assumption of intent based on context. Hear me now, I do not intend to offend but instead to do the opposite of defend.

Stoup, 2008

I just added this piece to my website. Ah. Reason # 3 for Why I came to Philadelphia: The PMA's Duchamp collection. I hope that fucker would be proud. Probably not, but fuck him. I never was much into hero worship, anyway.

Xerox + Camera = Camera(Scanner) + Photoshop

Oh, how I remember spending entire nights with friends at Kinko's making art and zines. As much as I love my computer, there is something missing from the process now.

Photo turning drawn.

I'm kind'a pissed that the DCCA has a crappy theme for their juried members show:

Crossing Lines- The theme for the 2009 Members' Juried exhibition engages the latitude, limits, and attitudes with which boundaries are either upheld or transgressed. Lines demarcate parameters, thresholds, borders, and territories, which in turn define the evolving notions of value systems such as nationalities and geopolitical or gender relations.

Deja Vu, I think I've been here before. God forbid if a modern artist doesn't make art that sucks off geopolitical or gender relations. Whatever, I will submit autonomic. pfft!

When I make dimes, I'm gonna' have windows like these. Let's talk 'bout seamless integration into nature. For these things, I want moolah.

A wheel for Abbey Lee. I love Puryear. He is grandiose.