Agricultural Abundance, Do Not Spindle: Cow
The Fabric of Lincoln
Man and Machine: Flight (Clifford Harmon before the Crash)
Man and Invention: Coxey’s Lifesavers & Water Wings
I Want To Thank Bank of America For My Adjustable Rate Mortgage
“I work in a subject matter of portraiture, politics, and banality. I’m a figurative painter, though to me it’s so abstract, that it’s concrete: I just like having a figurative excuse to distribute paint unevenly onto a canvas. My medium is acrylic, oil, iron oxide (rust) and collage. The color spectrum is narrow on the cusp of black and white and color: core tones are black, white, teal and rust.
I am strongly influenced by the great void of Americana, classic portraiture, my German roots and my life in Brooklyn which to me is the tactility of the now: t a lot of urban decay which I often express in collage onto the painted work. I’m awestruck by Romare Bearden for his great use of collage and composition, Jacob Lawrence for his use of simple materials (cheap paints and lined pages) to make great work, Francis Bacon for his fearless exposure of the un-pretty human shape as well as Lucian Freud, Edward Hopper for his almost effortless depiction of the void and Norman Rockwell for his courageous depiction of kitsch. Photographers such as Ingrid Maier, Walker Evans and Dorothea Lange inspire me for their stark light and strong composition of people in every day settings as well as Disfarmer for his awkward portraiture.
I love the human stench with all its faults and beauty. I love painting it into what I call augmented portraiture: a portrait /painting with collage and retro-collage, giving you the tactility and possibly of glance at the person’s or persons’ “now” and “story”. It’s a way of bringing in sound bites, textures, abstract shapes and color into the composition.”