A Wrench Beside A Bottle Perpendicular to the Ground

A Wrench Beside A Bottle Perpendicular to the Ground. Get it? The bottle is parallel to the floor, but perpendicular to the ground (the canvas).

The Long Dark sketchbook begins with drawings from the night of August 13th, 2006. The last drawings I made in Richmond, realised the day before my original departure (I later decided to move my ticket back a week).

Notice the connection? You may also notice the flipside of my self-portrait, drawn on the same night).

Still Life wth Pan

Still Life with Pan. Well, I was researching the grid. It was an independent study, during which I began to develop certain ideas which have served as the fundamental basis for much of my artwork. In this painting, the plane is divided into four quadrants. Fascinated as I am with geometry, it seems that each object begins to allude to certain basic shapes.

The Red Light District at Night

The Red Light District at Night. It was one of my last drawings from 2006, a day before the new year. I was laying in my bed, peaking out the window at 3am. Last night, I was having dinner with three Romanians. One is an air-traffic controller who lives in the Netherlands, and he was telling stories of the red light district...

It's funny how two people can see different views of the same thing.

A Lighter

A red lighter, grid-based...

The View Off the Porch of an Apartment Complex

Looking off the balcony of an apartment in Richmond, there stood a communication tower transmitting energy in every direction. Penetrating and surrounding, the waves cascaded across the landscaped perimeter of the fenced-in complex to wash through me as they had everything else...

Reclining Woman II

Once I had the overall form taken care of (see "Reclining Woman I"), I began to look for relationships that were more implied than overt. Here, the geometry of light was what was speaking to me. In a few years, I would extend this idea in my Particle series. These two drawings were done on the same night, about ten minutes apart...

The Bust as it Emerges from the Formulative Cosmos of the Intellect

Deceptively simple, this drawing exposes the underlying foundation of synthetic pixelization: the of mapping an object to a grid. Similar to how a computer monitor represents images with pixels (discrete geometric forms), in 2002 I was exploring how to train my eye to accomplish the same thing. In this case, it seems that I was also implying a three-dimensionality to the geometry, which was rare in the series...

A Teddy Bear, Three Views

In 2001, I had begun to move away from a synthetic grid, and into a more analytic analysis of form. What I like about this series of drawings (all on the same sheet) is how the teddy bear is rendered differently, exposing my thought process. In the middle drawing, you can see where I'm defining the object with simple geometric relationships. Rather than arbitrarily imposing a grid, I was looking to amplify the inherent geometry of the form.

Want me to send you this postcard?

A Row House in Amsterdam

A row house in Amsterdam. It was my first experience in the Netherlands, mid-October, 2006. I was cold, tired, hungry, and loving every second of being there. The green dumpsters in front of the house epitomize what I love about the Netherlands: good design, even for the unsightly.