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Excerp From NoteBook 76_a.

For quite some time now my interests as an artistic individual have been in exploiting the contemporary human condition in relationship to catastrophic events and disasters in history. I believe that as intellectual creatures using pattern recognition as our primary source of compiling memory images and data information (a biological computer), there exists an innate ability to misconstrue and rearrange actual events that have happened into a whole new reality. For example, the 9/11 crisis comes to mind as far as an unsurmountable amount of disinformation presented to the American population under the guise of truth. We were given the evidence in a pictorial format, but verbally given another set of information. Anybody that really looked at some of the coverage of that catastrophe should have been able to come up with a laundry list of questions speculating what actually happened. Instead, in large part to the hysteria created in its wake, a good deal of the American populations dissent was squashed by repressive media coverage. The possibility that this form of brainwashing could happen so easily has had a profound effect on my own work in relationship to experiencing the visual world around me. I started to see my life in little short clips. Strange fleeting moments fading in and out throughout my conscience. Jumbled and misplaced.

At the same time, I was starting to familiarize myself with a good deal of documentary information dealing with civil unrest, protest, and domestic & international terrorism over the past century. Through the fog of information, a pattern of interest begun to emerge. A rudimentary interest in an absolute pattern. An imprint. An inkblot. An accidental formation of shapes and color bleeding into each other to create recognition. A primordial state of understanding was found where I felt relevant as an artist again through this particular process. I was stimulated by these images of violence for many reasons I could not fully understand. Divorced from content, these new images of violence held no relevance to history. They are just images. Fleeting moments. Here and gone. Pattern recognition. Eyes. Ears. Guns. Blood. History left to the imagination to make what they want of them. I leave the viewer with his or her or its own version of my story that I am not so sure how to tell.

The Weeping Proletariat

2007
Charcoal on Paper
22.86 X 30.48

12 Dead 48 Wounded 167 Presumed Missing

2007
Charcoal on Paper
22.86 X 30.48

Smoking Gun? What Smoking Gun?

2007
Charcoal on Paper
22.86 X 30.48

68’ Czechago Riots

2007
Charcoal on Paper
22.86 X 30.48

Freedom Arrives. Ingest.

2007
Charcoal on Paper
22.86 X 30.48

For Every Action There Is A Reaction

2007
Charcoal on Paper
22.86 X 30.48

Victim 896a

2004
Tar on Canvas
45.72 X 86.36

Victim 896b

2004
Tar on Canvas
45.72 X 86.36

Attempt To Regress

2005
Tar on Canvas
121.92 X 91.44

Am I Dead Yet?

2005
Tar on Canvas
121.92 X 91.44

Policing The Gallows

2005
Tar on Canvas
121.92 X 91.44

Boy In Ski Mask

2007
Tar & Acrylic on Canvas
43.18 X 50.8

Black Beatty

2004
Tar & Acrylic on Canvas
121.92 X 91.44

Kent

2004
Acrylic & Oil on Canvas
121.92 X 91.44

Crowd Study #063

2008
Mixed Media On Canvas
121.92cm X 121.92cm

Crowd Study #019

2008
Mixed Media On Canvas
152.4cm x 182.88cm

Untitled #013

2008
Mixed Media On Canvas
60.96 x 60.96

Sleeping With The Servants

2008
Mixed Media On Canvas
121.92cm X 121.92cm

Watershed Moment

2006
Mixed Media On Canvas
43.18cm X 50.8cm

Polka What?

2008
Mixed Media On Canvas
121.92cm X 121.92cm

Crowd Study #279

2008
Mixed Media on Canvas
121.92cm X 152.4cm

$12,564.23 Of Wisdom

2008
Mixed Media on Canvas
121.92cm X 121.92cm