A few from 2018 and a few new ones from 2019:
I’m excited to be showing at four openings this month. Especially fun, I’ll be part of two different group shows focusing on different aspects of the concept of sin. Here is the summery:
-A solo show at Float On as part of their visual arts program
– Sin? at Art at the Cave
– The Seven Deadly Sins and the Lovers Eye at Splendorporium
– First Friday Open Studios at East Creative Collective
Its going to be a busy month next month as well as I work on an new environmental piece to be part of the For the Seventh Generation. A collaborative eco-mural for the Elizabeth Jones Art Center.
Pieces from my “Seasons” series shown and sold at the Big 500 show
This piece is the first of a four part series on growth and collapse. It covers the emergence of civilization and equilibrium in the natural world.
This piece is the second of a four part series on growth and collapse. It covers the growth of civilization and the withering of the natural world.
This piece is the third of a four part series on growth and collapse. It covers the collapse of civilization and disappearance of the natural world.
This piece is the fourth of a four part series on growth and collapse. It covers the disappearance of civilization and reemergence of the natural world.
It’s been an exciting few months!
- I’m excited to announce that my piece Hati Hróðvitnisson has one second place at the annual NightVisions show at the Coconino Center for the Arts!
- I’ve taken over organizing the First Friday Art Walk in Portland. Myself and the other organizer Sara, are excited for the future of the Art Walk. Check it out at FirstFridayPDX.org.
- New paintings! Included is the first “postcard painting.” If you’d like one they are available for commission here.
In Akko I find the places of my dreams, winding corridors, and open expanses, naked stones and presences that I partially recall, half-remembered, half imagined. We sleep that first night beneath the stars, high above the city on decayed walls, awkwardly huddled. She sleeps in an new sleeping bag, layered above an inflatable, sleeping pad, and her childhood pillow. I lay beside her on the ground, among the weeds and stones, covered, mostly symbolically, in her large, purple travel towel. It carries the fresh smells of the first flowers of spring.
She is young, pretty, stubborn, German, and deeply open. Come across the sky to this desolate place for some private reason, unknown perhaps even to her, this is her first great adventure. We meet as I am tieing a bandage around my ruined and blistered feet, stained in iodine. Despite a spattering of eastern Europeans, and the odd American, the hostel has been conquered by Germans. Here neither English nor Hebrew is the common language, but the dark guttural tones of central Europe abound. And in her inexhaustible pursuit of electronic dance and synthetic drugs, she is not alone.
The rhythms of Tel Aviv are seductive, and the truths, history, and lifeblood of this dry land are quickly drowned out by the cascading rhythms and delirium of the hot night. Is the connection so easily accounted for by the economics of international air travel, or is there something darker in this link? If the restless ghosts of Polish forests and abandoned cattle cars still so profoundly haunt this modern country, what then of the grandchildren of the perpetrators? What stains of the collective soul draw them here, into the Judean wastes of history?
Inside her exhausted heart; too open, too abused by cocaine and MDMA, too innocent and well-intentioned for these cold expanses of conflict and suffering, my companion nurtures deep reserves of Christian faith. Though she revels in the hedonistic extremes of Tel Aviv, the ancient names of Galilee and Nazareth draw out something perhaps not altogether disconnected. Her ecstatic descriptions of the drug and exhaustion fueled unity of dance are almost religious in their undertones. And most significantly, she carries with her sacred treasures; the written prayers and notes of loved ones. The scraps, are not destined for any monastic house or church however, she will deliver them instead into the yawning cracks of the Western Wall.
There is a carefully delineated path, hung with delicate balance among the stars where all things are possible, where the aligned mischief of uncertainty is overcome by a perfect amalgamation of steps. A philosophers stone for every undoing, where the patron saint of lost causes, despite tragic apotheosis, at last escapes the manifest reality of the true constellations, hard and cold in their insistence of predestined failure.
When we mark our course by such an ephemeral north star, we must not be surprised when the way points at last evaporate before us, and we are left to reckon our folly instead by the unchecked onrush of the ground. Guided falsely, how could we ever follow such narrow perfection along the shrinking curve of a descending horizon. The true reality that confronts us is coldly probabilistic, and faced with the collapsing weight of the past, the quickened band of transcendental flight is unreachable in its physicality, made all the worse by its own receding tangibility.
The gentle pressure of a finger and a single bullet capable of rupturing the tendons of unreckonable struggle; as if the smallest blotting of the sun might destroy the endless eons of checked expansion marked in struggle against gravity.
In my return to the Holy City I feel like a lost desert prophet, returned to the world of men, altered, perhaps inextricably in parallel, still in some remote waste. It is disorienting and intangibly uncomfortable. Oh tragic Jerusalem! So near the center, always at the intersection; of insubstantial spirit and manifest political necessity, of just peace and the defilement of war, of Israel and Palestine.
The divides are mirrored in the landscape, where the ancient walls and cobbles of the old city quickly and inexplicably dissolve into the blinding modernity of West Jerusalem. The global commonalities of communal culture and minor poverty, found in variants marked by their character, not their utility, from Beijing to Cairo. Hanging meat, finger food, toilet paper bins, undrinkable water, sleeping mats, and the same small plastic chairs. The same sterile glass and metal stretching into empty heavens, the same dreams of safety and fear, the same efficiency, and the same isolation.
The history of this city is written with clarity on its walls. The empires, revolts, conquests, and genocidal massacres. The Ottaman-era walls are a patchwork marked by ever constant razing and rebuilding; the city has been destroyed to its foundations twice. Cananite, Egyptian, Hebrew, Babalonian, Macedonian, Seleucian, Hasmonean, Roman, Persian, Byzantine, Umayyad, Turkish, Fatimid, crusader, Ayyubid, Tartar, Ayyubid, Ottoman, English, Israeli, Jordanian, Isreali; confronted by such roiling successions, it is difficult to believe in the solidity of the current victors.
Stasis is an alluring concept in places with a more linear history. Here the lies of national narratives are made clear. Even as they struggle to find new life, expulsion and conquest mar the clean stories of the growth of a people, and the indulgences of common culture are in constant threat as culture expands, merges, and fades, leaving us to sift for some dim shred of meaning in the bloodshed and ash that accompanied their heraldic arrival. There is little to be found. Instead, the stories we tell, of struggles and victory, mask a darker truth; the violence we inflict is, in its final moment, naked and devoid of greater meaning. The battle-lines of chimpanzees, forgotten in the chaos. They will be buried and forgotten, like bones in the desert wastes, leaving only the momentary imprint of their suffering.