Set of six prints from the "Illumination" series.  This set corresponds to the set of images that was shown at Burning Man 2010.  The prints are part of the "Series I" signed limited edition.  Prints are made on 310 GSM Hahnemuhle watercolor paper via Epson R2400 printer.  For further info: http://normal.bz

Set of six prints from the “Illumination” series. This set corresponds to the set of images that was shown at Burning Man 2010. The prints are part of the “Series I” signed limited edition. Prints are made on 310 GSM Hahnemuhle watercolor paper via Epson R2400 printer.

I made this set of prints for a couple in Kansas City, Missouri.   They had seen my work on display at Burning Man 2010 and were quite impressed.  The wife purchased the set as an anniversary present to her husband!

Each print comes with a certificate of authenticity that registers it within the limited edition series.  .


Video of Installation at Finder’s Creepers, Des Moines, Iowa.

This video shows the installation of my “Illuminations.”   The illuminations are a series of prints that are “self-illuminated.” This installation of the complete series (to date)  was recently exhibited at  “Finder’s Creepers” gallery in Des Moines, Iowa.  The Illuminations hung in the center of an 18′ x 25′ gallery room located in a windowless basement.  The only sources of light were the artworks themselves.  Unlike ordinary painting exhibits where the work hangs on the walls, the Illuminations hang in the center of the room and can be viewed from both sides.   To shoot this video I used a steadicam to create the impression of walking around in the exhibit and viewing the works from different angles.


Panoramic photomontage of the “Illuminations” installation hanging in Finder’s Creepers.

Above are more images from the Des Moines show.

Displaying my work in this way breaks up the typical gallery routine.  The division of space and the dark environment discourage viewers from crowding in the center of the gallery to socialize while neglecting the art.  In the Illuminations installation  the viewers attention is dominated by the art – it cannot be ignored.

We are conditioned to look at glowing pictures.  Televisions, computer monitors, billboards, and more naturally draw our attention.  Presumably it is behavior that goes back as far as the human use of fire, i.e.; it has always been irresistibly fascinating to stare into the fire.  The Illuminations mesmerize people to stare into an alternate, glowing world of mythic satire.  People say they have never seen anything like it, but actually they see it all the time, but always in a commercial context.  Fast food restaurants, airports, bus-stops, and more are aglow with “light boxes” – a staple of the sign-making trade.  My “Illuminations” are an application of a commercial signage technique to a fine art purpose, however the change in context is so profound that people do not recognize it for what it is – a standard signage technique reinvented.   Because of this appropriation of an advertising technique I consider the work to be “Pop”, that is to say, fine art that uses  an advertising technique.   Yet, it also partakes of a stained glass like quality, in so much as the Illuminations are like glowing windows, and in this way they invoke a sacred atmosphere.   The ambiance is that of the hinterland between the sacred and profane, an effect that I would call “Crassicism”, i.e.; something that is at once “classical” and “popular”.


Illumination of “Chemical Imbalance” in the window of  “Gallery13″ in Minneapolis, Minnesota.

The above picture shows a different deployment of an Illumination.  In this case “Chemical Imbalance“, was included in a group show at Minneapolis’s “Gallery 13″.   Display in the window took advantage of the Illumination’s stained glass like characteristic, and also acted as night-time signage for the gallery.

The photo above shows the Illumination from within the gallery.  Afternoon sun is lighting up the print from behind.  Back-lighting the Illumination in this way creates deep, saturated colors reminiscent of a black velvet painting.  In these photos from Gallery13 you can clearly see the frames.  The frames are custom milled and gilded with variegated metal leaf.

Chemical Imbalance<br />
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Chemical Imbalance
http://normal.bz/print-shop/

“Chemical Imbalance”, Oil on Panel, 18.5″ x 21″ (47 x 53.3 cm), 2010

“Chemical Imbalance” is a depiction of change from one state of being to another state.  It explores the moment after your choice is made but the outcome is still unknown, yet there is simply no turning back.  It is an expression of the chemical reaction that cannot be reversed, and whose result, for better or worse, weighs in the balance . . . a “Chemical Imbalance.”

Details from the Painting (Click thumbnails for slideshow):

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

The print area of “Chemical Imbalance” measures 34.5″ v x  12 h” (20.3  x  30.5 cm).  The original painting was executed in oil on panel. The print is a 66% reproduction of the original.

For technical details of the print click here

“The Human Tree”, Oil on Panel, 64.1 x 55.8 cm (25.2″ x 22″), 2010

The image of this tree, filled with strange figures, being sawed down has become emblematic to me of the experience of quitting painting.  I stopped painting in 1994, and resumed in 2009.    Ironically, the completion of this painting has come to represent, not the cessation of artistic activity, but the renewal.  It is as though it were a film played in reverse, and the Roman soldiers by working their saw are not felling a tree, but causing a fallen tree to be rejoined, stand up and grow once again.

- David Normal

Details from the painting (click thumbnails for slideshow):

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

The print area of “The Human Tree”  measures 12.2″ v x  14  h” (31 cm x  35.5 cm). The original painting was executed in oil upon a plywood panel and measures 64.1 x 55.8 cm (25.2″ x 22″).

For technical details of the print click here

The Lord of Misrule, Oil on Panel, 2008<br />
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The Lord of Misrule, Oil on Panel, 2008
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“The Lord of Misrule”, Oil on Panel, 18″  x 24″ (45.7 x 60.9 cm), 2008.

This image is inspired by the lore of the “Carnival King”, the temporary sovereign chosen in mockery from Roman times onward in a patchwork of Pagan and Christian customs that survive today, to one extent or another, in Carnival and related holidays.

The most famous literary example of “The Lord of Misrule” (or “Pope of Fools”) is to be found in the beginning of “Notre-Dame de Paris” wherein Quasimodo has the honor of being crowned as a mock king in the ceremony of “The Feast of Fools.”

For further information on the “Lord of Misrule”, Wikipedia has a nice article bereft of citations, and appropriately replete with dubious claims.

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

The print area of “The Lord of Misrule”  measures 12″ v x  16  h” (30.5 x  40.6 cm). The original painting was executed in oil upon a panel and measures 18″ x 24″ (45.7 x 60.9 cm).    The print is  75%  of the original size.

For technical details of the print click here

Traffic Jam,<br />
Oil on Panel, 2009<br />
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Traffic Jam,
Oil on Panel, 2009
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“Traffic Jam,” Oil on Panel, 17.25″ x 13.75″ (43.8 x 34.9 cm), 2009

“Traffic Jam”, was an exercise in “Crappicism”.  To those that assume that this is because a “crapper” figures prominently in the composition:  No! You are wrong!   That is merely coincidental.   It is “crappicism”  because I conscientiously strove to make this painting “crappy” in style.  To those who reply: “Ah! Then Traffic Jam must be an allegory for the suffering of the constipated!”  Wrong again!  Know that I have long since left behind clogged bowels as a theme in my work.  I have foregone constipation both in the content of  and in the manner of production of my work.  That is to say that in, “Traffic Jam”,  there is no repression, nothing withheld in the composition, and also there is no interruption, no hesitation in the production.

OK.  I will stop the mockery, and explain plainly what I really mean by “crappicism”:

“Crappicism”  is an ideal of deliberate shoddiness in both the idea and the execution of the work.  Of course it is a play on “classicism” – something I consider to be the stifling pursuit of unattainable ideals.  Yet, the “classicist” urge towards perfection is in me, yet so ill-prepared am I to achieve anything that could be described as “classical”, that I have had to invent another and contradictory ideal, “crappicism.”   “Crappicism” aspires to mindlessly churning out art work without concern for its quality, but rather emphasizes an expediency of expression above all else.  Crappicism revels in the kitschy, crude, and crass. I have often speculated that if I could divest myself of  standards of craftsmanship and meaning in my art work than I could flourish and win great fortune with my mediocre crap.  It would be a triumph for “crappicism” – however,  I think it is not to be.  The urge to refine and perfect the work is too deeply ingrained, it poisons the my art with “classical” pretensions that spoil its chances for popular appeal.

So it is that “classicism” and “crappicism”, antipodes of aesthetic ideal , have conflicted within me as I have created this painting.   Neither side wins – it is a stalemate, a “Traffic Jam”.

P.S:  I am not going to mention “crappicism” again.  There are enough silly “isms” in the world without pushing this one, and so, no, it is not a new label for my art.

Details from Traffic Jam Below:

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

The print area of “Traffic Jam”  measures 12.1″ v x  15.18 h” (30.5 x  46 cm). The original painting was executed in oil upon a panel and measures 17.25″ x 13.75″ (43.8 x 34.9 cm).    The print is  88%  of the original size.

For technical details of the print click here

No Parking Zone, Oil on Panel, 2009<br />
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No Parking Zone, Oil on Panel, 2009
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“No Parking Zone”, Oil on Panel, 17.25″ x 13.75″ (43.8 x 34.9 cm), 2009

Not long ago I was contacted  on Myspace by a chihuahua.  I no longer recall this dog’s name, but just to protect the “innocent” I’ll call him “Chumley  -  Chumley the Chihuahua”.  Chumley’s was one of these profiles that is set up by a pet owner so that they can go around pretending that they are their pet.  So it was that a lady pretending to be little Chumley wrote to me to inquire if I could be commissioned to paint his portrait.  Of course I like dogs, and I even like people who pretend to be dogs, however I am reticent to do commissions these days, and even more reticent to do a commissioned portrait of a chihuahua.  Not wishing to disappoint, nor wishing to turn down paying work, I wracked my brain for a compromise.  It was not easy – I mulled this over for days:  How could I stoop to doing a portrait of a chihuahua and still retain my dignity as an artist?

Eventually I seized upon a solution -  I would put Chumley in his proper place.  I wrote back to him and explained as politely as I could that I could only include him as a detail, as a minor character added as a sort of “cameo” within the painting.  Chumley might (for example) sit on the lap of a lingerie clad gorgon or lift his leg on the severed head of John the Baptist or add some other weird and witty touch in any number of ways to a larger composition with loftier themes. I asked Chumley to understand that I only portray in my paintings those things that are part of the stream of symbols that course through my imagination.  I further explained that, with all due respect to the chihuahua breed, a breed that I find agreeable despite it’s diminutive size (generally speaking I only like large dogs), the chihuahua is simply not a part of the bestiary of my imagination, and so I would be very grateful if he would understand this and settle amicably for the sort of cameo appearance in one of my paintings that I was offering. He never replied. I can only guess that Chumley was too insulted by my belittling offer too dignify it with a response.

By the Fall of last year I had mostly forgotten about this seemingly minor encounter. I was busy working simultaneously on the painting above as well as Traffic Jam. In the course of making a painting I try to avoid thinking about what the meaning of the images might be.  That sounds peculiar to those who do not create things from their imaginations, but those who do will sympathize since they know that assigning meaning to things prematurely simply stifles the natural efflorescence of the imagination.  Yet sometimes as a work progresses a meaning, a resemblance, a reference, or a metaphor becomes very clear and the artist cannot deny it.

Such was the case with “No Parking Zone”.  At a certain point it was undeniable that I had painted a portrait of myself as an androgynous human chihuahua of gargantuan scale.  A horrifying realization.  Moreover, in this self-portrait, I was aesphyxiated.  Aesphyxiated by what?  Am I not here suffocated by my own arrogance, strangled by that self-important spirit that cannot swallow its pride so as to do whatever is asked of it?

Had this nasty little Chumley Chihuahua come nipping at the shadows of my mind and cleverly chased them, as he might chase rats from a sewer, into the light and onto my painting?  Had he in a perverted way, assumed the place in my painting that he had desired? Uggh!  Approached from all directions the matter is psychologically sordid.  It is a transgression, a usurpation, it is something that is where it should not be – a violation.  Even so, it is but a small infraction . . .  like parking in a “No Parking Zone”, and I afterall have always been a scofflaw . . .

Details from the painting (click on thumbnails for slideshow):

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

The print area of “No Parking Zone”  measures 12.1″ v x  15.18 h” (30.5 x  46 cm). The original painting was executed in oil upon a panel and measures 17.25″ x 13.75″ (43.8 x 34.9 cm).    The print is  88%  of the original size.

For technical details of the print click here

"The Pool", Oil on Panel, 24" x 36", 2008<br />
http://normal.bz/print-shop/

"The Pool", Oil on Panel, 24" x 36", 2008
http://normal.bz/print-shop/

“The Pool”, Oil on Panel, 24″ x 36″ (61 x 91.5 cm), 2009

I had the initial idea for,”The Pool”  when I went out with some friends to see a turtle derby in Los Angeles in the summer of 2005.  Perhaps the large rectangular ring set up as a racing rink for turtles suggested the cubic bath central to the composition.  I’m not sure.  Besides – I never saw any racing turtles – the atmosphere of the club was unbearable – a college frat scene pick up joint – so I just hid in a corner since I didn’t like it.  I amused myself by making the preliminary sketch for this painting.  Since that time I have worked on the painting off and on until finally I have completed it -  three and a half years later.

Details from the painting (click on a thumbnail to view slideshow):

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

The print area of “The Pool”  measures 12″ x  18″ (30.5 x  46 cm) The original painting was executed in oil on a panel and measures 24″ x 36″ (61 x 91.5 cm).    The print is  a 66.6 %  reproduction of the original.

For technical details of the print click here

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