"Space Vixen", Airbrush, 2000

“Space Vixen”, Airbrush, 14″ x 17″ (35.5 x 43 cm), 2000

Space Vixen was originally created as a poster for the Maritime Hall Concert Venue (now defunct?) in San Francisco.

Alternately entitled “Alien Cheesecake”, this damsel of the outer limits dallies on the thin line between “seduction” and “abduction”.

Space Vixen is sentimentalized hysteria incarnate, that is to say that she imbues that netherworld of fairy-folk, witches’ sabbaths, anti-gravity, secret societies and suchlike with a sensual naivete that belies her fetishistic pretensions , and reveals that, even if she is not exactly the “girl next door”, she is at least the “girl next galaxy” .  Perhaps if dressed a little more modestly you could bring her home to meet your folks, but then the question is, “What will it be like when she brings you home to meet her parents?” Ahh, light years and alien races intermingling in the vastness of space – these are but trifling complications that never impede true love’s course, and you do love her – don’t you?

  • Available as a signed print:

Printed and signed by the artist.
The print is a pigment ink (a.k.a. “glicee”) print.    The print area measures 12″ v x  16 h” (30.5 x  40 cm). The original painting was executed in colored ink on paper.

Printed using an Epson R2400 printer using archival Epson Ultrachrome K3 inks on Hahnemuhle Super B3 (13″ x 19″) 310 GSM 100% cotton rag archival art paper.  This print will hold it’s color fast for at least 200 years if kept in a dry place.

“The Fountain of Illusion”, Colored Pencil, 2001


This was intended to be a preparatory sketch for a larger painting executed on silk that was to be a part of a grandiose series of paintings called the “Ethereal Battle”.   This ethereal battle was intended to be a depiction of the death and rebirth of worlds – a vast eschatological exegesis of visions.  Yep.  Too much, too high of a concept, and – guess what? – it never got finished.  But a few decent sketches were made, and my interest in working with silk began.

I kind of forget what this is supposed to represent exactly, but it had a specific meaning having to do with the hindu concept of “Maya”, and the vanity of technology; i.e.; the vanity of the material world as opposed to the transcendental world of spirit.  Hmm . . . I think if you take away the explanation people will come up with whatever interpretation they like – so, just forget I said that.  It’s about insects, optical illusions, and laboratory glassware.

This piece has been recently published in “SilkMilk” (February 2010)

  • Available as a signed print:

Printed and signed by the artist.
The print is a pigment ink (a.k.a. “giclee”) print.    The print area measures 12″ v x  16 h” (30.5 x  40 cm). The original painting was executed in colored ink on paper.

Printed using an Epson R2400 printer using archival Epson Ultrachrome K3 inks on Hahnemuhle Super B3 (13″ x 19″) 310 GSM 100% cotton rag archival art paper.  This print will hold it’s color fast for at least 200 years if kept in a dry place.

“Series I” is my first series of prints. This is a signed, limited edition series of my current oil paintings. The edition is limited to 100 prints of each painting that comprises the group of 13 paintings.

“Series I” is printed using an Epson R2400 printer with archival the Epson Ultrachrome K3 inks on Hahnemuhle Super B3 (13″ x 19″) 310 GSM 100% cotton rag archival art paper. What that means is a very fine print with rich detail, and luminous, deep colors. The paper is heavy and stiff, and luxuriant to the touch. The R2400 printer is Epson’s top of the line desktop printer that uses their top quality K3 inks – it is a small professional quality inkjet printer used by photographers worldwide. This print will hold it’s color fast for at least 200 years if kept in a dry place out of sunlight.

“Series I” is produced by the artist. The intention is to provide high quality prints at a low price.

In the future I will issue this as a portfolio, and possibly make custom framed prints available.

OLYMPUS DIGITAL CAMERA         	搐ɩ

OLYMPUS DIGITAL CAMERA 搐ɩ

“Tumult”,  Bile on Paper, 2006

Executed with organs of a Cassowary bird, painted in stiletto heels and a gas mask using a petrified doughnut attached to a stethoscope.
The dimensions of the original piece are: multiple (yet transitory . . . )

“Cognitive Libertines”, Oil on Panel, 20 x 25 cm, 2008.

As long as there is a world to be known, there are those who will never know when there is already too much to be known, and their unbridled perception, their wanton understanding, will debauch their consciousness, and brand them as profligates wandering in the splendor of their own hallucinations, or, to be more succinct, “Cognitive Libertines.”

This title was, of course, an afterthought – I had nothing so grandiose in mind to begin with.  Actually the painting is just embellished marginalia culled form old journals and cooked up as an exercise in oil painting.

Now that I have sufficiently de-mystified the painting, and reduced it to a hum-drum technical exercise I’d like it to be known that it is . . .

“Series I” prints are made  by the artist, the signed and numbered prints are limited to 100.

The print area of “Cognitive Libertines” measures 8″ v x  10 h” (20.3  x  25.4 cm).  The original painting was executed in oil on panel. The print is a 100% reproduction of the original.

For technical details of the print click here

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