Acrylic & Enamel on Canvas • 4′x4′ • Main Line, Philadelphia
Giant works populate a giant public space, behind the public population.
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Archive for the Wet Media Category
Peek-sneakers, behold two colossal canvases slated for an October 6th unveiling.
These giant banners were custom created for kids to color at a local library fundraiser. They’re meant to illustrate the dangers of reading.
Props to Philadelphia’s greatest professional baseball team, featuring the uniform they wore the last time I could name more than three of them.
A chestful of graphics for a boxful of shirts for a mouthful of a performance venue, Underground Arts at the Wolf Building.
Last summer, I took on the monumental task of creating a mammoth mural in the catacombs of the Philadelphia’s Underground Arts at the Wolf Building. After completing the extemporaneous outline, I handed over the monumentaler task of coordinating the coloring efforts (based loosely on these specs) to the venue owner. The space will be hosting a huge Late Night Cabaret series this fall so the race is on to complete the work before the festivities. Want to lend a hand?
Pictured above is my swan project, completed during a week-long collage course. Based on the creative seed-planting process of the Dadaists, four random bits of inspiration were drawn from a hat (assuming people wear plastic bags as hats). I pulled two bits of text (“HEARD ON THE STREET” and “YOUTH PROGRAM”), a photo of a set of dentures soaking in a glass of water and a weather map depicting high temperatures across the United States. Our task was to create a paper mache mask combining the happenstance elements. The convergence of those seemingly unrelated elements pointed me towards the idea of urban youth frolicking in an illegally opened fire hydrant on a hot summer day. The resulting mask may serve as a modern day, ceremonial, waterdance headdress. In addition to the overt references, including wrench and fireplug silhouettes and text (IT’S GONNA BE A HOT ONE” and “”OPENING A FIRE HYDRANT IS A CRIME”), the mask covertly suggests the shape of the sun and tribal (African, South American and North American) aesthetic elements. (more…)
This collection of altered books was created by snipping and clipping the respective artists’ respected work from within retrospective books and semi-respectfully reworking the work on the covers. I call the collection Cover Artist, One Man’s Art Ruined by Another.
Now that I’m ankle-deep in another collage course, it’s time to tip my hat and hand. A keen art historian may peek at my past collage work (pictured above) and detect the influence of Henri Matisse, Romare Bearden and Jean-Michel Basquiat. A keener art historian, living in the Baltimore area, would recognize the influence of contemporary artist, Matt Bovie. I have been attracted to, and inspired by, Bovie’s work for many years for it’s strong iconography, bold palette, harmonic compositions and primitive sincerity. Although the work is modern, it seems to encapsulate a mythology spanning generations. Bovie shows and sells his work in Baltimore but doesn’t exhibit or market his art online. Perhaps that relative digital reclusiveness adds to the allure. I am aware of his work only due to a chain of coincidental acquaintances. Although we’ve never met, I peer at his occasional art-related albums on Facebook and admire from afar. If you’d like to learn more about the work of Matt Bovie, wander the streets of Baltimore and hope you run into him.
I put a large piece of cement board on the curb but the garbage men wouldn’t take it. I put a CURB ALERT on Craigslist but the hoarders wouldn’t take it. I put a painting on the cement board, it was gone within an hour. Now I’m designing a tattoo for my wife. (Rimshot.)
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