Sin

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.

500 Seasons

Pieces from my “Seasons” series shown and sold at the Big 500 show

“Spring”
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.

“Summer”
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.

“Fall”
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.

“Winter”
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.

Night Visions and First Friday

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.

The Bardo

New painting and written piece:

The Bardo, or A Memory of Death, 2015

“…That the collection ever imagined itself as a thing apart was always an illusion, cast like a shadow by the singular light of consciousness. For even existentially, as beings that dream tales of a life lived and a narrative concluded, we were deceived. The great change that we defined as oblivion was inseparable from our breath. As we closed our eyes each night we, with unreasonable faith, trusted that that which left us would return. With each moment passed we did not mourn for the eddy of ourselves lost in the stream. Even the memories that we held with such precarious grips, that we swore gave truth to the lie, shift like dunes in the deserts of our individuality…”

New Jerusalem

New written piece:

The Fires Below New Jerusalem/the Wheel of Holocaust, 2015

“…Seen in this light, the part of the world that is damaged is that part of ourselves that, in the refractions of our perceptions, sees deformity instead of perfection. The only true messiah is therefore the understanding which discards the obscuring veil from the perfection already present in the waters of the eternal now. This is not an escape from action, but rather a call to it; for it also contains the understanding that the only act which is worthwhile is the one performed for its own sake. It necessitates that the change we desire be enacted now; for indeed, when else is there?”

A Pyramid Rising Out of the Sea

New written piece:

A Pyramid Rising Out of the Sea, 2015

“…Like all of our deepest fears, this terror of the abyss finds purchase in our symbols, myths, and stories. Among them; the sexually resplendent serpent who tempts the first woman in the garden of Eden, Níðhöggr, the dragon who gnaws at the roots of the world-tree, and the snake that steals eternal youth from Gilgamesh. The shared phallic and venomous characteristics of this manifestation are no coincidence. Indeed, sexuality often seems to be at the root of both destructive and creative acts. The serpent can thus be seen as a channel through which the abyssal chaos penetrates our formed mental worlds and permits new creative acts…”