Look At Me Look At You from I Saw It Coming But Stood There Like A Jerk Anyway-2021
Look At Me Look At You (set 1-small) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-9" x 12" each, spray paint on rag
Look At Me Look At You (set 1-small) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-9" x 12", spray paint on rag
Look At Me Look At You (set 2-small) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-9" x 12" each, spray paint on rag
Look At Me Look At You (set 2-small) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-9" x 12" , spray paint on rag
Look At Me Look At You (set 1-medium) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-22" x 30" each, spray paint on rag
Look At Me Look At You (set 1-medium) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-22" x 30", spray paint on rag
Look At Me Look At You (set 2-medium) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-22" x 30"each, spray paint on rag
Look At Me Look At You (set 2-medium) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-22" x 30", spray paint on rag
Look At Me Look At You (single image-large) from I Saw It Coming But Stood There Like A Jerk Anyway-2021-52" x 78", spray paint on cardboard
I Saw It Coming But Stood There Like A Jerk Anyway-Durer's Disappearing Rhino Trick-2021
Durer's Disappearing Rhino Trick (one side-large) from I Saw It Coming, 2021, prismacolor on acrylic slating on blackboard, 74" x 84" x 18"
Durer's Disappearing Rhino Trick (other side-large) from I Saw It Coming, 2021, prismacolor on acrylic slating on blackboard, 74" x 84" x 18"
Durer's Disappearing Rhino Trick (one side-medium) from I Saw It Coming, 2021, prismacolor on acrylic slating on blackboard, 74" x 84" x 18"
Durer's Disappearing Rhino Trick (other side-medium) from I Saw It Coming, 2021, prismacolor on acrylic slating on blackboard, 74" x 84" x 18"
Durer's Disappearing Rhino Trick (one side-small) from I Saw It Coming, 2021, prismacolor on acrylic slating on blackboard, 74" x 84" x 18"
Durer's Disappearing Rhino Trick (other side-small from I Saw It Coming, 2021, prismacolor on acrylic slating on blackboard, 74" x 84" x 18"
I Saw It Coming But Stood There Like A Jerk Anyway-Anticipation Series
It Can't Happen Here (pg1) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
It Can't Happen Here (pg2) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
Point-Counter Point (pg1) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
Point-Counter Point (pg2) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
The Wall (pg1) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
The Wall (pg2) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
The Wall (pg3) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
The Wall (pg4) from I Saw It Coming/Anticiption Series, 2020-21, spray paint and acrylic on Yupo, 80" x 52"
The Constitution Project-2019-2021
Voter from the Constitution Project, 2019-2020, 80" x 104", acrylic paint on cardboard mounted on 8 MDF panels
White House from the Constitution Project, 2019-2020, 80" x 104", acrylic paint on cardboard mounted on 8 MDF panels
Capitol from the Constitution Project, 2019-2020, 80" x 104", acrylic paint on cardboard mounted on 8 MDF panels
Supreme Court from the Constitution Project, 2019-2020, 80" x 104", acrylic paint on cardboard mounted on 8 MDF panels
White House-Blue-Red, from the Constitution Project, 2019-2020, 80" x 104", acrylic paint on cardboard mounted on 8 MDF panels
Capitol-Red-Blue from the Constitution Project, 2019-2020, 80" x 104", acrylic paint on cardboard mounted on 8 MDF panels
Voter-Red-White-Blue from the Constitution Project, 2019-2020, 80" x 104" each, acrylic paint on Yupo, 8 pages
Domestic Tranquility from the Constitution Project, 2021, 13 hand cut texts, 8" x 8"
Perfect Union from the Constitution Project, 2021, 13 hand cut texts, 8" x 8"
In Girum Imus Nocte
Last/Time/Out
Time's Up, 2018, stacked cardboard and wood products, 80" x 46" x 46"
Time's Up, 2018, stacked cardboard and wood products, 80" x 46" x 46"
Last Drop, 2018, stacked cardboard and wood products, 83” x 32” x 32”
Last Drop, 2018, stacked cardboard and wood products, 83” x 32” x 32”
Lights Out, 2014, stacked cardboard and wood products, 56” x 56” x 96”
To Have and Have Not, 2013-2014, 2018
To Have and Have Not (2013-2014) is an installation dealing with imbalances in the distribution of wealth between the executive/investing class and the working class. The project consists of paintings on cardboard produced by means of templates, paintings on plexiglass and glass, and sculptural elements. The painted cardboard components are reproduced specifically for each exhibition opportunity. The components represented here are from sets titled Tug of War, Hand Job, Class Warfare and Assembly Line. Installation views are from exhibitions held at the Seton Gallery, University of New Haven, West Haven CT and Manchester Community College, Manchester, CT.
Due to the prevailing economic and political climate this project has been reconceived and recreated in 2018.
To Have and Have Not, 2013-2014
Installation view, Assembly Line and Class Warfare, Seton Gallery, University of New Haven, West Haven, CT.
Installation view, Seton Gallery, University of New Haven, West Haven, CT.
To Have and Have Not, 2013-2014
Installation view, Manchester Community College, Manchester, CT.
To Have and Have Not, 2018
Tug of War, 2018, 240” x 78”, acrylic on cardboard and wood products
To Have and Have Not, 2018
Hand Job 1, 2018, 64” x 52”, acrylic on cardboard and wood products
To Have and Have Not, 2018
Hand Job 2, 2018, 64” x 52”, acrylic on cardboard and wood products
To Have and Have Not, 2018
Hand Job 3, 2018, 64” x 52”, acrylic on cardboard and wood products
To Have and Have Not, 2018
Hand Job 4, 2018, 64” x 52”, acrylic on cardboard and wood products
To Have and Have Not, 2018
Hand Job 3 and 4, two Graphs and one Stat- installation view, 2018, Hand Job 3 and 4, 64” x 52”, acrylic on cardboard and wood products, Graphs 30” x 24”, paint on glass with wood products, Stat 25” x 41”, paint on plexiglass with wood products
To Have and Have Not, 2018
Hand Job 1 and 2, two Graphs and one Stat- installation view, 2018, Hand Job 1 and 2, 64” x 52”, acrylic on cardboard and wood products, Graphs 30” x 24”, paint on glass with wood products, Stat 25” x 41”, paint on plexiglass with wood products
Workers 1, 2013-2014
Enamel on plexiglass in perforated steel frame. 36" x 24".
Workers 2, 2013-2014
Enamel on plexiglass in perforated steel frame. 48" x 36".
Workers 3, 2013-2014
Enamel on plexiglass in perforated steel frame. 24" x 24".
Investors 1, 2013-2014
Enamel on plexiglass in perforated steel frame. 24" x 24".
Investors 2, 2013-2014
Enamel on plexiglass in perforated steel frame. 36" x 48".
Investors 3, 2013-2014
Enamel on plexiglass in perforated steel frame. 36" x 40".
To Have and Have Not, 2018
Assembly Line, 2018, 15 pieces, each piece 40” x 26”, acrylic on rag paper
To Have and Have Not, 2018
Assembly Line, 2018, 15 pieces, each piece 40” x 26”, acrylic on rag paper
Where do we come from? Where are we going? What the hell is going on here? 2017-2018
Where do we come from? Where are we going? What the hell is going on here? 2017-2018
12 Urns and 5 Wallpaper panels. Urns approximately 48” x 13” x 13”, Wallpaper panels 78” x 40”, cardboard, acrylic paint and wood products.
Where do we come from? Where are we going? What the hell is going on here? 2017-2018
4 Urns and 5 Wallpaper panels. Urns approximately 48” x 13” x 13”, Wallpaper panels 78” x 40”, cardboard, acrylic paint and wood products.
Where do we come from? Where are we going? What the hell is going on here? 2017-2018
1 Urn and Wallpaper panels. Urn approximately 48” x 13” x 13”, Wallpaper panel 78” x 40”, cardboard, acrylic paint and wood products.
Where do we come from? Where are we going? What the hell is going on here? 2017-2018
3 Urns and Wallpaper panels. Urns approximately 48” x 13” x 13”, Wallpaper panels 78” x 40”, cardboard, acrylic paint and wood products.
Where do we come from? Where are we going? What the hell is going on here? 2017-2018
12 Urns and 5 Wallpaper panels. Urns approximately 48” x 13” x 13”, Wallpaper panels 78” x 40”, cardboard, acrylic paint and wood products.
Where do we come from? Where are we Going? What the hell is going on here? Text version, 2017
We have all had the experience of walking into a room, usually the kitchen, and immediately forgetting why we are there. It strikes us differently from the run of the mill episodes of forgetfulness. On these occasions the emptiness stretches out before us like a great, yawning gulf. The void becomes tangible. It has weight and mass and dimension.
The void is my subject.
Each of the phrases that make up the project, Where do we come from? Where are we going? What the hell is going on here?, was chosen due to its reference to a sensation of existential vertigo. Hope and having is mingled with loss and remorse.
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
You First, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
You Forget, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
You Have, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
You Get, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
You Have, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
Your Convictions, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
You Walk, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Where do we come from? Where are we going? What the hell is going on here? Text version, 2017-2018
Your Exisstence, 2017 hand cut paper in wood box, 21 1/2” x 15” x 1 1/2”
Empty Spaces/ installations
Empty Spaces/ Fear Nothing features unoccupied rooms whose furnishings can only suggest human presence. These appear as virtual stage sets awaiting human presence and interaction. The sculptural ensembles are props. There is a hollowness or void at the center of these objects that, to my mind, is reminiscent of the facades of buildings in old Hollywood westerns. But the actual scale of the images and objects invites viewers to project themselves into the settings, thus momentarily occupying the emptiness. In this way the viewer provides the narrative, which can be as simple as imagining oneself sitting in a chair or as elaborate as a Chekhov dinner party.
Empty Spaces/Fear Nothing, 2017, an installation
Five Points Gallery, Torrington, Connecticut, view from the street.
Empty Spaces/Fear Nothing, 2017, an installation at Five Points Gallery, Torrington, Connecticut. Sitting Room ensemble.
Empty Spaces/Fear Nothing, 2017, an installation at Five Points Gallery, Torrington, Connecticut. Sitting Room and Lamp.
Empty Spaces/Fear Nothing, 2017, an installation at Five Points Gallery, Torrington, Connecticut. Living Room ensemble.
Empty Spaces/Fear Nothing, 2017, an installation
Five Points Gallery, Torrington, Connecticut, view from the street.
Installation view from the exhibition Empty Spaces: Home Bodies at Real Art Ways, March 7, 2019 through May 19, 2019.
Installation view from the exhibition Empty Spaces: Home Bodies at Real Art Ways, March 7, 2019 through May 19, 2019.
Installation view from the exhibition Empty Spaces: Home Bodies at Real Art Ways, March 7, 2019 through May 19, 2019.
Installation at West Cove studio/gallery, 2015
Living Room ensemble as a part of the installation The Late, Late Show at Alliance for the Visual Arts, Lebanon, New Hampshire.
Empty Spaces (in two dimensions)
Living Room (2014-15) is from the Empty Spaces project. This part of the project features two or more paintings each measuring 130” x 140”. One of the two paintings displayed paintings is on 20 pristine cardboard panels (each 26” x 40”) while the other is on used, hence distressed, panels of cardboard. The accompanying sculpture of living room furniture is displayed in front of a stenciled pattern resembling wallpaper. The wallpaper pattern is also painted on used panels of cardboard.
Living Room 1, 2014-2015
Acrylic on prepared cardboard panels. 20 panels each measuring 26" x 40". Overall dimensions 130" x 160".
Kitchen, 2016
Kitchen, 2016, acrylic house paint on cardboard, 72” x 120” (9 panels at 24" x 40" each)
Hallway, 2016
Hallway, 2016, acrylic house paint on cardboard, 104” x 68” (8 panels at 26” x 34” each)
Stairway, 2016
Stairway, 2016, Acrylic house paint on cardboard, 102” x 50”, (6 panels at 34” x 25” each).
Bathroom Sink, 2016-17
Bathroom Sink, 2016-17, Acrylic house paint on cardboard, 78” x 108” (9 panels at 26” x 36” each).
Sitting Room (2015, Acrylic on prepared cardboard panels, 80" x 52". ) One of a variable number of images from Empty Spaces that deals with furnished rooms. Individuals do not occupy the rooms, though the presence of the furniture makes human occupation a tantalizing possibility. The components of the project are paintings, (sometimes in multiples} executed by means of hand-cut stencils and sculptures of some of the furnishings represented in the paintings. The sculptures are constructed of stacked cardboard and are built to be life size.
Installation view from the exhibition Empty Spaces: Home Bodies at Real Art Ways, March 7, 2019 through May 19, 2019.
Empty Spaces (in three dimensions)
Sitting Room (2015) is part of the Empty Spaces project which deals with furnished rooms. Individuals do not occupy the rooms, though the presence of the furniture makes human occupation a tantalizing possibility. The components of the project are paintings, (sometimes in multiples} executed by means of hand-cut stencils and sculptures of some of the furnishings represented in the paintings. The sculptures are constructed of stacked cardboard and are built to be life size. The cardboard installations take on the character of stage settings without an accompanying narrative.
Sitting Room-Furniture , 2015-2016
Sitting Room, 2015-2016
Furniture view 1, 2015-2016, stacked cardboard, glue, wood products, acrylic house paint. Wall units measures 100” x 120”, rug 36” diameter, chair and table life size.
Sitting Room-Furniture, detail of chair, 2015-2016.
Sitting Room, 2015-2016
Furniture, detail of chair, 2015-2016, stacked cardboard, glue, wood products, acrylic house paint. Chair life size.
Sitting Room-Furniture, detail of shelf, 2015-2016.
Sitting Room, 2015-2016
Furniture, detail of shelf, 2015-2016, stacked cardboard, glue, wood products, acrylic house paint. Chair life size.
Living Room, 2014-2017, cardboard, lumber products and glue, life size.
Living Room, 2014-2017, second view, cardboard, lumber products and glue, life size.
Bathroom, 104" x 80" x 48", cardboard, wood products and acrylic paint.
Bathroom, detail toilet, cardboard and wood products.
Room with Stairs- (3-D), , 2016, stacked cardboard, glue, wood products, acrylic house paint. Wall installation measures 120” x 196”, rug 64” x 36” and table 29” x 40” x 14”.
Room with Stairs- (3-D), , 2016, stacked cardboard, glue, wood products, acrylic house paint. Wall installation measures 120” x 196”, rug 64” x 36” and table 29” x 40” x 14”.
Room with Stairs- (3-D), , 2016, stacked cardboard, glue, wood products, acrylic house paint. Wall installation measures 120” x 196”, rug 64” x 36” and table 29” x 40” x 14”.
Room with Stairs- (3-D), , 2016, stacked cardboard, glue, wood products, acrylic house paint. Wall installation measures 120” x 196”, rug 64” x 36” and table 29” x 40” x 14”.
Insomnia 2008-2012
Insomnia is a condition of absence and desire. One has insomnia in the way one has any other thing, but it is an absence, the absence of sleep. The project incorporates five sets of pieces, each of which can stand alone as an independent statement, however, the sets were conceived as flexible modules that may be combined into an installation involving a variable number of components. Digital elements as well as physical media that rely on stencils, formulae and other reproducible forms for its realization, emphasize the theatrical nature of exhibition. Components may be reconceived or refabricated to address particular spaces or situations. The Insomnia project has been shown in whole or in part in exhibitions variously titleed Insomnia, The Same Thing Every Night, Up All Night and The Late, Late Show.
Insomnia, 00-60, 2008-2012
Installation view Housatonic Museum of Art, 2013. Cardboard, paint, alarm clock, Yupo plastic sheets, hardware and video.
Insomnia, 00-60, 2008-2012
Installation view Housatonic Museum of Art, 2013. Cardboard, alarm clock and video tape.
Insomnia, It's the Same Thing Every Night, 2008-2012
Acrylic on cardboard, 72" x 72"
Insomnia, It's the Same Thing Every Night, 2008-2012
Insomnia, It's the Same Thing Every Night, 2008-2012
Acrylic on cardboard, 60" x 60".
Insomnia, It's the Same Thing Every Night, 2008-2012
Acrylic on cardboard, 60" x 60".
Insomnia, It's the Same Thing Every Night, 2008-2012
Acrylic on cardboard, 60" x 72"
Insomnia, It's the Same Thing Every Night, 2008-2012
acrylic on cardboard, 60" x 84".
Insomnia, It's the Same Thing Every Night, 2008-2012
acrylic on cardboard, 60" x 72".
Insomnia, It's the Same Thing Every Night, 2008-2012
acrylic on cardboard, 60" x 96".
Insomnia, It's the Same Thing Every Night, 2008-2012
installation view, Foundry Art Center, St. Charles, MO.
Insomnia, It's the Same Thing Every Night, 2008-2012
installation view, Foundry Art Center, St. Charles, MO.
Insomnia, Sheet-Sheep-Sleep, 2008-2012
installation view, Housatonic Museum of Art, Bridgeport, CT.
Insomnia, Sheet-Sheep-Sleep, 2008-2012
Installation view, Housatonic Museum of Art, Bridgeport, CT.
Insomnia, Sheet-Sheep-Sleep, 2008-2012
individual sheep template, cut Yupo, 30" x 26".
Insomnia, Sheet-Sheep-Sleep, 2008-2012
individual sheep template, cut Yupo, 30" x 26".
Insomnia, Wake Me, Shake Me, 2008-2012
Studio installation, cardboard furniture and templates.
Insomnia, Wake Me, Shake Me, 2008-2012
Studio installation, cardboard and templates (9" x 11" each).
Vote with Your Feet, 2006-2008
Vote with Your Feet
2006 – 2008
Vote with Your Feet employs foot and foot related images to examine where personal space meets the public sphere. This encounter is laden with political implications. The images are realized as templates cut from paper and mounted on stretchers. Being templates – rudimentary tools for reproduction – they suggest some additional action on the part of the viewer. The templates are subsequently combined in display / storage installations.
Out of Step, (step one), 2006-2007
Out of Step (step one), 2006-2007, 120" x 96" x 14", Nine cut paper templates in a wall mounted display/storage assembly. The installation assembly consists of ten foot lengths of threaded metal rod, wood products, hardware and brown kraft paper.
I Love a Parade, 2006–2007 (one side)
I Love a Parade (step two), 2006–2007 (one side), 75" x 92" x 24" hand-cut paper templates, shellac, polyurethane, hardware and wood products.
I Love a Parade, 2006-2007 (the other side)
I Love a Parade (step two), 2006–2007 (other side), 75" x 92" x 24" hand-cut paper templates, shellac, polyurethane, hardware and wood products.
Where You Stand, 2007 (one side)
Where You Stand (step three), 2007 (one side), 60" x 22" x 21", paper, shellac, polyurethane, hardware and wood products.
Where You Stand, 2007 (3/4 view)
Where You Stand (step three), 2007 (3/4 view), 60" x 22" x 21", paper, shellac, polyurethane, hardware and wood products.
Walk a Mile in My Shoes, 2007
Walk a Mile in My Shoes (step four), 2007, 96" x 78" x4" hand-cut paper templates, shellac, polyurethane, hardware and wood products. From a painting by John Baldessari.
Run to Stay, Run Faster to Go, 2008
Run to Stay, Run Faster to Go (step five), 2008, 134" x 144" x 4", cut paper templates, shellac, polyurethane, hardware and wood products.
Run to Stay, Run Faster to Go, 2008
Run to Stay, Run Faster to Go (step five), 2008, (3/4 view), 134" x 144" x 4", cut paper templates, shellac, polyurethane, hardware and wood products.
Are We There Yet (step seven), 2008
Are We There Yet (step seven), 2008, 134” x 144” x 12”, paper templates in a wall mounted display/storage assembly, rag paper, wood products, shellac, varnish, hardware and kraft paper.
Nietzche in Arizona, 2003-2006
Nietzche in Arizona is about desire. In it the focus of desire is characterized by positive and negative space relationships, or as Nietzsche himself might have put it, being and nothingness.
The stencil panels that constitute the form of the piece embody the same positive/negative relationships that the images represent symbolically.
Nietzsche in Arizona, Three Actresses templates
2003 – 2006, 72” x 36“ each, paper, shellac, polyurethane, hardware and wood products.
Jayne Russell, Marilyn Monroe and Jane Mansfield, actresses of the 1960s, epitomized woman as the object of male desire in the era before Women’s Liberation.
Stencil Carrier
2003-2006, 64" x 36" x 96", oak and hardware.
The Stencil Carrier was designed in collaboration with Ernest Hoffman. Its purpose is to position the templates while the images are applied to the wall surface.
Three Actress templates and stencil carrier
2003-2006.
Grand Canyon
2003-2006, 120” x 180”, paper, shellac, polyurethane, hardware and wood products.
The image is of the Grand Canyon as seen from the canyon floor. It reflects man’s desire to dominate the forces of nature.
Mt. Humphreys
2003-2006, 120” x 180”, paper, shellac, polyurethane, hardware and wood products.
The image is of Mount Humphreys, the tallest mountain in Arizona, as seen from the rim of the Grand Canyon. It reflects mankind’s ambition and desire for domination over the land.
Mt. Humphreys
2003-2006, oblique view, studio installation.
Text panels (Nietzche) and stencil carrier
variable dimensions,
paper, shellac, polyurethane, hardware and wood products.
The text panels quote lines from a well-known aphorism by Friedrich Nietzsche.
The quotation is a meditation on the abyss, a negative form.
Text Panels (Donovan)
2003-2006, variable dimensions, paper, shellac, polyurethane, hardware and wood products.
The text panels quote lines from a song by the English pop star Donovan.
The first quotation considers mountains, a positive form within the landscape.
Follow the Leader, 2003 – 2004
At the time I was invited to participate in the DeCordova Museum’s 2004 Annual Exhibition the United States was embroiled in a vigorous national debate about whether or not to go to war in Iraq. Through my project I wanted to weigh in on the discussion.
However, I wanted to avoid simply taking a stand for or against the war as events would have made such a statement irrelevant. Instead I chose to consider how one resolves the question for one’s self and ultimately takes a position. Follow the Leader is a pictorial meditation on each individual’s decision whether or not to be a follower.
This project was designed expressly for the grand staircase of the museum. The south side of the stairway is a three-story wall of windows that allows sunlight to pour into the space. At certain times of the day the five paintings (sign painter’s enamel on clear acrylite) cast shadowy distortions of the images on the walls of the exhibition space.
Count-Duke Olivares after Velasquez, 2003-2004
72" x 48" x 12”, enamel on acrylite and steel.
Blind Leading the Blind after Breugel, 2003-2004
48" x 72" x 12”, enamel on acrylite and steel
Parade March from L’Illustration, 2003-2004
24” x 72” x 12”, enamel on acrylite and steel.
Protest March from Flip Schulke for Life Magazine
2003-2004, 48” x 72” x 12”, enamel on acrylite and steel.
The Lobster Quadrille after Carroll and Tenniel
2003-2004, 48” x 96” x 12”, enamel on acrylite and steel.
Follow the Leader, 2003 – 2004
installation view, grand staircase, DeCordova Museum, Lincoln, MA.
Follow the Leader, 2003 – 2004
installation view, grand staircase, DeCordova Museum, Lincoln, MA.