the a list

  Here's one that slipped my mind.  I had three asemic prints published  in DeLuge Journal in last years Fall/Winter 2022 issue .  These are prints from the pandemic era and ones that I think have stood the test of a few passed years.   

  One of the recurrent themes of my works is the use of words, numbers, and ascemic writing.  In particular, I've felt drawn to the original motto of the United States.  E Pluribus Unum - out of many, one - has always felt more authentically American.   In God We Trust, which replaced it in 1956, feels more like a Christian Nationalist political platform item than a unifying statement.  So I have adopted the use of the phrase in quite a few paintings and prints. This painting is notable in that it starts with a black background and includes the use of handcut print stamp that produces a blueish white root like structure, or maybe even an image resembling sperm.  The blue coming from previous inkings in blue used for more traditional prints. This is one of several black background paintings that have cropped up this summer. We'll see where this format goes.

  Something as little as a pencil mark up and to the left can finish a composition.  Much of this painting was planned.  The text and the punctuation mark were linocuts I've had for a while.  The sparse contrasting black and white with the gold is a common color choice for me.   But the line was spontaneous and final.  Such is composition. When to say "enough".   

  I've been in a bit of a free float creatively.  Occupying myself somewhat obsessively with carving up portrait prints.  These are a few of my favorite prints. I've been using reference photographs and portraits that express emotion.  I gravitate towards expressiveness, clarity of the gaze and the light of the eyes.  I seek out sharp contrast that lends itself to simple linocut. I have to say that this current interval of work is a departure for what I'd consider my norms.  But I'm going to have faith that this wandering is an unfolding opportunity to see and experience the world and to find joy and pleasure in it.   

  1291 numbers (016) Ink & pencil on paper Published in Stonecrop Magazine

  1188 Monoprint 4X7 (158) Ink and pencil on paper Published in Stonecrop Magazine

  1146 Minimal (11) ink & pencil on paper published in Stonecrop Magazine

  Things are getting larger. The art is at least.  This piece and 40 or so others I've created in June/July 2022 started on 11X14 inch paper, much larger than my typical 3X5 pieces over the last few years.   This is a multimedia work, pencil, print, and gesso on paper.  As always this piece and others found on this website and instagram are for sale.   Email me  for more info. 

 This... is another in a series of small handmade books I've been building. This one is much more free form and blends collage, prints, stickers (yes lovely, lovely stickers - a childhood obsession) and other miscellaneous ingredients. 

  This little unconventionally unfolding book was inspired by my trip to San Francisco in May 2022 and a mild obsession with a rotary sign in Chestnut Hill.  The book contains a few words in English "We just wanted the universe and its perpetual perfect attendance" The book contains a multitude of words in Chinese characters cut from a San Francisco Chinese translation of of the Conservative newspaper Epoch Times. Knowing only a few things about the source of the Chinese characters San Francisco origin Chinese translation conservative Epoch Times May 2022 time frame Leads, at least in my mind, down many contradictory paths. Ultimately I'm forced to know very little, to have very limited foundation for any opinions, and I am forced to contend with my biases. 

  This is... a collection of various accordion books I've crafted over the past few years. Behind the video is the song "We're In Love - There's the Song (Instrumental)" I recorded in April when I had a bout with omicron BA.2.  The books are mainly filled with handmade print blocks I've created in the same few years.   

  This multimedia print came to be eight or nine months into the pandemic. It spans a few decades in origin.  The number 3 recalls a numbered series of paintings I created before my kids were born. The relief number print shares space with some abstract mono printing, an ascemic treatment of our nation's motto E Pluribus Unum (Out of many, one), and some colored pencil. As you can see here, during the most intense periods of the pandemic, I signed all works with the acronym CVP - for Corona Virus Pandemic.