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).

The Dream A Train Dreams When It's Dreaming of Itself

The Dream A Train Dreams When It's Dreaming of Itself.

Painted on the wall outside of Detroit Transit Railroad's studio (my rock band).

Trains seem to have such a self-inflated opinion of themselves.

But, don't we all dream in self-personification?

This is the entrance to DTR's studio.

Murals for St. Christopher's Inn (video)

Murals for St. Christopher's Inn (video). A brief approximation of the experience of rotating slowly in the center of the room while standing with one leg planted solidly on the ground. The other leg? That's the one contorted in a dire need-to-maintain-balance position, in choreographed slow-motion tiptoe between bed, bedpost, and floor. "peaceful" was the word most often heard as a description to the room once I had finished. Funny, given that my use of aerosol varnish set off the fire alarm. The entire room was thick with haze and post aerosol fume, but I didn't get it until several dirty looks and one really loud alarm later. But, I digress... Eventually, I had to cut open two onions, leaving one piece in each corner of the room, to get rid of the tremendous smell...

The Round Table

The Round Table. This painting no longer exists. I painted some weird nothingness on the bottom and then the nothingness consumed the all. So, I threw it out. Now, I think that I should have kept it...

Teapot with Particles

Teapot with Particles. Vibrations in space affect the real thing.

Boy, Lost in Space

Boy Lost in Space. In the middle of my particle phase, I was having trouble articulating what I was seeing... It became difficult to justify the overt geometry of the particles of light that began to appear in my paintings and drawings... Everything had become too cerebral... The fabric of reality began to de-thread, revealing the nature of its' braid, and I had only began to internalize things...

Still Life with Bottles and Grid

The painting that followed the drawing... The wooden grid structure is an allusion to the synthetic grid overlay that I was using a few years earlier.

The Language of Love

Here, the dialogue is articulated as particles separating a man from his lust. He sees her with all of his eyes. Hard for him to speak, he manages to sing. This is a piece from a time where I was gluing things to other things, breaking barriers of object and space.