the raven's side

oceanside playground

oceanside playground.original oil painting on gallery wrap handmade canvas.21'' x 26''unframed. it can displayed with or without a frame.the ocean was calling my name one dismal january day as thoughts of childrens' toys are left to divulge in the sun. a peacock watches over the scene with disdain in the occurence. fish gills mimic the life dwindling in the sea as a decorative fill on the outside of this microcosm.but is it just a picture with those marbles laying atop the scene?

lovebirds

bluejay finds a soul.

deer and fawn among the winter poppies

there's something about winter.

desolation and a chance for all of summer's hot gas to subside.

it's very human.

moose head.original oil painting on canvas board.6'' x 8''unframed.

somewhere in this painting i see a finger puppet yet the dramatic coloring reminds me of a shakespearean play. 'we are caught between two sides of the fine arts spectrum, mr. moose.' 'but, i'm just a moose!''no, no, you are so much more.'

the raven and the deer are swallowed up by fields a purple

the skies may float away but the ground will swell with breath.

Drawing is confounding. It is the basis of art, the fundamental thing, a common language. And it is also the most personal aspect of art, a vehicle for impulses and apprehensions that burst straight from the unconscious, an expression of what is essentially private in an artist's being. It is as if drawing represents eternally rival claims, the claims of the community and the claims of the individual. I think it's this range of powers and possibilities that has given drawing such a talismanic fascination in recent years. Ceratinly, we've been hearing artists and critics and commentaries of all kinds speak about their hopes for the art of drawing. And these have often been contradictory hopes, as if a greater emphasis on drawing could make contemporary art simultaneously more generally comprehensible and more tryly felt, more solidly grounded in tradition and more imaginatively compelling.
-Jed Perl
an article on Henry Fuseli entitled 'Troubled Classicism, The Hyper Personality of Henry Fuseli's Work.

covent garden.

new absrtact series.
latex paint and color pencil and sandpaper manipulation.

the chick and the diving bell. glamour and all that.

tissue paper, oil, felt, thread, paper, pencil on wood.

i paint to paint to paint. my feet walk to walk to walk.

no no.

I see things on my walk. they talk they talk they talk.

'pears'

acrylic and oil on wood.

2008

collector: kristin gratton

the funny thing. I accidentally smashed this skull after it blew those hearts at me!

the magical imp. my muse. her lovely beauty a thing to ponder.
she she she she

lemons.

there is something very feminine about these lemons...hmmm... maybe it's because they look like two breasts? ha.
i have painted twenty different paintings with one plastic lemon. everytime I see something new. how can that be from a silly plastic lemon?

the chicken and the pomegranate are thinking.

this painting started out as a an awful still life of a pomegranate. then I came across a picture I took of my mom's chickens. they met and never insulted me again.

collector: robert fontenot