[BROOKLYN, TX]
The Misanthrope,
Polymer transfer and acrylic on canvas.
72 x 60 inches,
Hell's Kitchen, NY studio, (2009).
In a sense Molière was Pascal's alter ego. And Molière's enormous popularity might have given the impression that there was hope for reasonable action. But those who told straight truths to large audiences - as Molière did - came to play a specific role in societies where judgemental power dominated the state, learning, business and every other key area. They fullfilled the function of a Punch and Judy show. After the citizen had given his day, year, life to the real system - the one that had power - he went out to dream and to laugh in the theater, where Molière knocked his superiors about.
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- John Ralston Saul, Voltaire's Bastards (1992).
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Don Quixote,
Polymer transfer on paper with frame and spraypaint.
40 x 40 inches,
Hell's Kitchen, NY studio, (2010).
Untitled Paramount,
India ink, printmaking ink, silk thread, and graphite on linen (w/ cinder blocks).
56 x 72 inches each (installation dimensions variable),
Hell’s Kitchen, NYC studio, (2012).
deus ex machina,
Polymer transfer, acrylic, India ink, and printmaking ink on canvas.
108 x 108 inches,
Hell's Kitchen, NY studio, (2012).
Nietzsche forecast our future for us — he was the Cassandra of the nineteenth century. He told us it’s all so meaningless we might as well be extraordinary.
- Francis Bacon (1977)
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Übermensch,
Polymer transfer and acrylic on canvas.
96 x 72 inches,
Hell's Kitchen, NY studio, (2009).
The End is Nigh,
Polymer transfer and acrylic on canvas.
68 x 72 inches,
Hell's Kitchen, NY studio, (2009).
The Champ Always Fights Himself,
Polymer transfer and acrylic on paper.
50 x 76 inches,
Hell's Kitchen, NY studio, (2009).