Recently sold: Bridge Over Troubled Waters Triptych
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CARDBOARD ARTIFACT: "What's In Your Head?" A Pop Art Portrait of Pablo Picasso
24" x 24" x 3" Cardboard, paper and acrylic on canvas |
CARDBOARD ARTIFACT: "I Wanted to Be a Star." A Pop Art Portrait of Jean-Michel Basquiat
24" x 24" x 3" Cardboard, paper and acrylic on canvas |
POP ART PORTRAIT of Tom Waits
This commissioned piece measures 12" x 12" and is acrylic and paper on canvas. The text is from Rock of Ages: The Rolling Stone History of Rock and Roll. |
SELF QUARANTINE
Acrylic on canvas, measures 30" wide and 40" tall. This Pop Art portrait is the first piece in my Covid-19 series. It is inspired by all of those people who live alone with only their pets to keep them company. But not to worry--the cat is symbolic of an independent spirit, as well as feminine sexuality, creativity and power. Because the eyes of the female character and the feline are dominant pairs and somewhat symmetrical, they can be considered as similar. The woman, therefore, is theoretically attributed with the ability to see her way through a dark and troubling problem. |
ELECTRONIC MADONNA
4 ft. x 5 ft. Acrylic on loose canvas. Click on the image for a detailed description.
$2,000 Plus shipping
4 ft. x 5 ft. Acrylic on loose canvas. Click on the image for a detailed description.
$2,000 Plus shipping
ILLUMINATED MADONNA: THE ORACLE (Inspired by Viola Davis)
30" x 48" Painted in metallic acrylic paint on canvas. $1,400 Plus shipping. With this painting I wanted to draw attention to the subtleties of our environment while also highlighting the mysteries that surround us. I think many paintings are designed in a way to capture life in a simple manner. As artists we often focus on creating a recognizable image from a minimal amount of information. This piece reminds us of the intricacies that exist at the atomic level where everything vibrates with energy! It plays with the multiple meanings of the word illumination, considers reflected light, reflection as a thought process, and takes a leap into the mystical realms of foresight, prediction, and potential. The background was inspired by a window in a famous painting by John William Waterhouse, titled, "Consulting the Oracle." (Interesting side note: To "consult the oracle" has become a modern synonym for Googling something.) Symbolically, some people find meaning in the organizational patterns of lunar astrology.
I have cast Viola Davis in the role of Oracle because I was inspired by her words: "Vanity destroys your work. That's the one thing you have to let go of as an actor. I don't care how sexy or beautiful any woman is. At the end of the day, she has to take her makeup off. At the end of the day, she's more than just pretty." |
New series of Pop Art portraits from movie stills.
While many of these paintings have already sold, this page provides a nice cross-section of my work.
Electronic Madonna makes her debut!
Measuring 4 feet wide and 5 feet tall (when the loose canvas has been stretched over a frame), this is a big girl with a big message. I am not sure what exactly inspired me to paint an android as a Madonna figure. Perhaps I wanted to go in a very different direction from my previous painting, which was quite classical in both appearance and symbolism. Mostly, I suppose, I wanted to consider those things we do in an attempt to be human. As this figure came to life, so to speak, on the canvas, it struck me that she seems to be almost desperate in her quest.
Instead of holding pearls or a rosary, this woman holds Mardi Gras beads. Not as elegant as pearls, but just as loaded with symbolism. For example, their colors are important. Purple represents justice, green represents faith, and gold represents power. Three worthwhile concepts that should be held close. They could even be said to be the basis of her religion. They are also plastic. This means obviously that they are cheap, but plasticity can mean several things. On a positive note, it implies flexibility. On the other hand, however, plastic objects are considered to be fake, artificial and even insensitive. All of these attributes can be applied likewise to the Madonna. Beads are, of course, decorative. When this idea is carried to the extreme, they can be symbolic of one’s need to please others or to strive for perfection. What then does it say that she is holding a handful of them?
She also casually holds a snake, an image that invokes fear in many because they are unpredictable and can strike at any time without warning. I wanted the snake to hint at the android’s animal nature, or in this case, her lack of it. She must carry it around with her. Conversely, with its ability to shed its skin, the snake also represents the hope of transformation.
Also within her grasp are a couple of phone chargers. This to me seems like a strange attempt to never lose vigor and life energy, a reminder that an android is dependent on an exterior source, and that she must repeatedly be revitalized. This leads also to a sense of isolation from others. And while the telephone is not actually included in the image, the phone chargers cause the viewer to consider it. It is a form of communication and represents the android’s relationships with others--also in this case, disconnected.
Across the Madonna’s left arm there is a bouquet of roses. The plants are there to represent fertility, spiritual development, potential and growth. They may also indicate a desire to be closer to nature. According to Freud, the rose represents the female genitalia. This makes sense as the snake is a phallic symbol. Unfortunately, these roses are plastic. This is not obvious at first, but if you look closely, there is one lone Dollar Store tag still attached to a stem. (Hmmm… once we note this, can we avoid wondering if that is a rubber snake?)
There are, however, some realistic plants in this image. There are some vines around the tops of some of the fence posts. These quickly growing plants indicate that time is passing swiftly, and perhaps even passing the Madonna by--she will soon be an obsolete model.
The choice of color is always deliberate. Consider the background. The magenta represents compassion, while blue is tranquility, openness, truth and wisdom, and purple is the color of royalty and dignity. All of these cool colors lean toward a nighttime palette and are a backdrop to set off the iron fence behind the android. All fences are barriers. They can symbolize a need for protection. If the condition and construction of the fence are analogous to her emotional state, this fence is very open, providing little privacy, letting us know that the subject is willing to let people in. In this case the fence is behind her, which leaves her with only one path, going forward. The fact that it is iron implies a certain harshness. This is further reinforced by the barbs at the top and bottom, which are somewhat camouflaged as a decorative design element. Keep in mind that iron can also be a symbol of strength and endurance.
Apple branches hang from the fence forming a kind of wreath about the Madonna’s head. The apple tree is often a symbol of grandeur and magnificence, while the fruit universally symbolizes knowledge. But these apples are doomed to dry out hanging from their branches on the fence. In fact, they have been further doomed as slices have already been cut from the plumpest ones. Perhaps this is to underscore the temptation often associated with the apple?
The stained glass surrounding the Madonna’s head like an aura, signifies enlightenment, as though she seeks guidance from a higher source. The dominant colors are blue and yellow, calling to mind freshness, and the pattern is one of stylized flowers. But really isn’t this just another example of fake flowers and decoration? Note also that the stained glass window obscures more than it reveals. And it is laced onto the fence with a vine, almost as though the vine has naturally grown there, and yet the viewer knows this is impossible.
Between the uprights of the fence, there are a series of barely visible human skulls--another hint that this robotic woman’s ultimate dream is to become human. But that is not her only dream. Note the “electric sheep” that is perched at the crown of the aura. While the sheep is partially pixelated, the viewer is more inclined to think it is degenerating rather than emerging. In many ways this is indeed a dark painting, leading the viewer to doubt that Electronic Madonna will ever totally achieve her goal.
Instead of holding pearls or a rosary, this woman holds Mardi Gras beads. Not as elegant as pearls, but just as loaded with symbolism. For example, their colors are important. Purple represents justice, green represents faith, and gold represents power. Three worthwhile concepts that should be held close. They could even be said to be the basis of her religion. They are also plastic. This means obviously that they are cheap, but plasticity can mean several things. On a positive note, it implies flexibility. On the other hand, however, plastic objects are considered to be fake, artificial and even insensitive. All of these attributes can be applied likewise to the Madonna. Beads are, of course, decorative. When this idea is carried to the extreme, they can be symbolic of one’s need to please others or to strive for perfection. What then does it say that she is holding a handful of them?
She also casually holds a snake, an image that invokes fear in many because they are unpredictable and can strike at any time without warning. I wanted the snake to hint at the android’s animal nature, or in this case, her lack of it. She must carry it around with her. Conversely, with its ability to shed its skin, the snake also represents the hope of transformation.
Also within her grasp are a couple of phone chargers. This to me seems like a strange attempt to never lose vigor and life energy, a reminder that an android is dependent on an exterior source, and that she must repeatedly be revitalized. This leads also to a sense of isolation from others. And while the telephone is not actually included in the image, the phone chargers cause the viewer to consider it. It is a form of communication and represents the android’s relationships with others--also in this case, disconnected.
Across the Madonna’s left arm there is a bouquet of roses. The plants are there to represent fertility, spiritual development, potential and growth. They may also indicate a desire to be closer to nature. According to Freud, the rose represents the female genitalia. This makes sense as the snake is a phallic symbol. Unfortunately, these roses are plastic. This is not obvious at first, but if you look closely, there is one lone Dollar Store tag still attached to a stem. (Hmmm… once we note this, can we avoid wondering if that is a rubber snake?)
There are, however, some realistic plants in this image. There are some vines around the tops of some of the fence posts. These quickly growing plants indicate that time is passing swiftly, and perhaps even passing the Madonna by--she will soon be an obsolete model.
The choice of color is always deliberate. Consider the background. The magenta represents compassion, while blue is tranquility, openness, truth and wisdom, and purple is the color of royalty and dignity. All of these cool colors lean toward a nighttime palette and are a backdrop to set off the iron fence behind the android. All fences are barriers. They can symbolize a need for protection. If the condition and construction of the fence are analogous to her emotional state, this fence is very open, providing little privacy, letting us know that the subject is willing to let people in. In this case the fence is behind her, which leaves her with only one path, going forward. The fact that it is iron implies a certain harshness. This is further reinforced by the barbs at the top and bottom, which are somewhat camouflaged as a decorative design element. Keep in mind that iron can also be a symbol of strength and endurance.
Apple branches hang from the fence forming a kind of wreath about the Madonna’s head. The apple tree is often a symbol of grandeur and magnificence, while the fruit universally symbolizes knowledge. But these apples are doomed to dry out hanging from their branches on the fence. In fact, they have been further doomed as slices have already been cut from the plumpest ones. Perhaps this is to underscore the temptation often associated with the apple?
The stained glass surrounding the Madonna’s head like an aura, signifies enlightenment, as though she seeks guidance from a higher source. The dominant colors are blue and yellow, calling to mind freshness, and the pattern is one of stylized flowers. But really isn’t this just another example of fake flowers and decoration? Note also that the stained glass window obscures more than it reveals. And it is laced onto the fence with a vine, almost as though the vine has naturally grown there, and yet the viewer knows this is impossible.
Between the uprights of the fence, there are a series of barely visible human skulls--another hint that this robotic woman’s ultimate dream is to become human. But that is not her only dream. Note the “electric sheep” that is perched at the crown of the aura. While the sheep is partially pixelated, the viewer is more inclined to think it is degenerating rather than emerging. In many ways this is indeed a dark painting, leading the viewer to doubt that Electronic Madonna will ever totally achieve her goal.
Fish or Cut Bait! (SOLD)
We have all had times in our lives when we realized we were at a turning point and must make a decision that would be irreversible. These feelings of pressure, excitement, fear, adventure? All are expressed through Mermaid Madonna, and her ambivalence is evident when we examine her surroundings. First of all, where is she? The five portholes visible running across the top third of the canvas tell us that she is submerged underwater. This is a transitional place for her because though her feet are dry, she is definitely immersing herself in the ocean. She just isn’t quite ready to give up those heels as a trade-off for unfurling her tail! Another clue that she has not committed to a permanent life under the sea is the diving helmet near her tail. This is a subtle reminder of the effects of too much baggage which occurs when one refuses to let go by making the tough decisions.
So really, what is a mermaid? In folklore a mermaid has the head and upper body of a woman and the tail of a fish. She is beautiful and she is vain, often depicted combing her long flowing hair and gazing into a mirror. A mermaid’s purpose is to lure sailors and she is therefore forced to rely on beauty and charm. But what if a mermaid had no need of sailors? What if her goals were other? This mythical woman is a shape-shifter! A transmogrifier! But does she rely on divine intervention or the use of magic? She is a modern fantasy. She is the endgame of pop culture. But she is not a werewolf, and she is not a vampire! You may fear that her purpose is punitive, but this mermaid is not trying to drown you or drink your blood!
And you know, as sea travel historically became less dangerous, so did mermaids! With fewer and fewer tragedies happening to sailors and ships, mermaids slowly evolved into less threatening creatures. A more romantic view of the mermaid was introduced during the 18th century with the Hans Christian Andersen fairy tale, “The Little Mermaid.” Since then, mermaids have been perceived more often as secretive and good-natured creatures that have a natural curiosity about life above the sea. In fact shape-shifting is often used as a plot device wherein a female form is perceived as being a threat, when really she has merely set out on a nontraditional path.
The aura surrounding the mermaid’s head is a porthole, or a portal--also known as the end of a tunnel, and in most cases, a means of entering another realm. Classically speaking this hints at travel to the land of enlightenment.
The background of the painting is a stylized shell pattern of repeated scallops. Scallops are generally considered to be free-living and active. The scallop shell has become symbolic of a journey, particularly a spiritual journey. For example, the scallop design symbolizes the many starting points from which pilgrims begin their journeys, and their commonality is symbolized by the fact that they are all drawn to a single point at the base of the shell. This has become such an accepted idea that scallops are still used today in their physical form as indicators or guiding marks that a pilgrim is on the correct path.
Scallop shells have also been used to symbolize the feminine principle which is seen as protective and nurturing. Many paintings of Venus, the Roman goddess of love and fertility, employ a scallop shell this way. Alternatively, the scallop shell is said to resemble the setting sun and encourages the viewer to consider the passage of time.
Complex spiral shells such as the conch can be seen as representing security or protection. This indicates that someone is not showing her true self or real feelings. She is protecting herself from getting hurt, and is also reclusive and emotionally closed off. Our mermaid is sitting in a conch shell, but she appears to be emerging from it, not withdrawing into it.
Many of my Madonna paintings feature a string of pearls. In this painting, however, the image of the pearl is a little more in your face. There is only one pearl, signifying the importance of unity of thought and devotion to a singular path. And of course, it emphasizes the idea of growth under pressure. Sometimes we have to be forced into an uncomfortable situation in order to eventually move forward.
As previously referenced, this painting offers a series of five portholes. The number five is often referred to as the link between heaven and earth. It refers to the five senses, and unlike even numbers, it is somewhat unstable, hinting at change and the need to alter your course.
It is common to see round windows in vessels that are subject to stress, and the reason is to avoid weak points which are often found at square corners where cracks can form and develop. An Oculus, or circular window, has been observed in Classical architecture since the 16th century. They are often called by their French name, “oeil de boeuf” or “bull’s eye.” This implies that they function as a type of target or guiding force, which serves to focus the attention of the viewer.
Most of the five portholes offer views of placid sea water and calmly swimming, if somewhat curious, fish. The fifth one, however, has been pierced by a shark. Sharks are commonly symbolic of anger, hostility and fierceness. If one identifies with this creature, she may be undergoing a long and difficult emotional period and may be seen to be an emotional threat to herself or to others. Perhaps she is struggling with her individuality and independence, especially in some aspect of her relationships. A shark can also represent one who is greedy and unscrupulous. This kind of person goes after what she wants with no regard to the well-being and sensitivity of others. Because of all of these negative connotations, I hesitate to admit that I am the self proclaimed “Art Shark.” Certain aspects of this description do indeed fit me. I like to think, however, that I am more aligned with the relentlessly hard working aspects of the shark than the greedy grasping traits! Of course, due to the phallic nature of the encroaching shark, perhaps the mermaid does not identify with it, but instead fears it.
In the shark’s mouth the viewer will find an alarm clock. I put this here because I have an ongoing adversarial relationship with the concept of time. I also wanted to underscore the idea that the mermaid is subjected to the ticking clock with regard to her need to make a choice about her destiny. The fact that this is an alarm clock is significant. Perhaps the mermaid is alarmed and concerned that she is being forced to make a decision, and therefore feels as though her time is running out. Note that the time on the clock is set at 10:10. This is, interestingly enough, the time that most clocks are set at when they are being sold because it gives the illusion of two upraised hands, hopefully an uplifting bit of symbolism.
The porthole nearest the head of the mermaid forms a halo around her head and is surrounded by eleven red starfish. These famous five-pronged fish are usually associated with a period of healing and regeneration. Alternatively, they suggest that the mermaid has many options to weigh and decisions to make. Stars in general can signify a desire for fame and fortune. Since we have already discussed time, it is no coincidence that there are eleven stars. It is the eleventh hour and this girl must make a choice before her time runs out.
The third porthole features a close-up view of a blue iris. You could say in effect that this is the third eye. This traditionally refers to the gate that leads to inner realms and spaces of higher consciousness. People who claim to have the capacity to utilize their third eyes are sometimes known as seers. The presence of the eye in the third opening suggests that the mermaid needs to look within and on a higher plane to find her answers.
The view of the ocean through the portholes allows the viewer to peer into the emotions and feelings of the painting’s subject. The ocean is generally indicative of spiritual refreshment, tranquility and renewal. It universally leaves one feeling empowered and unhindered, as though one has a positive outlook on life and is not limited by anything. Sailing across the ocean typically signifies new found freedom and independence.
The cumbersome diving helmet in the bottom right of the painting maintains an ominous presence. If the mermaid chooses to remain human, this is the only way she will be able to function underwater. Subconsciously, when one considers diving in general, she is trying to get to the bottom of a current situation or the root of her problems or feelings. It seem significant then that the mermaid’s tale is somewhat obscuring the helmet.
The porthole directly over the head of the mermaid features a golden fish. This functions almost like a glowing crown, and it symbolizes riches, natural healing, illumination and spirituality. That the fish is nearest to the subject is perhaps a positive signifier that the mermaid will surely gain access to these concepts and abilities.
At the base of the painting, there rests a pair of red shoes. In general, shoes represent one’s approach to life--their path. Wearing shoes indicates that one is well-grounded or down to earth. It represents her convictions about her beliefs. If you are changing your shoes, this refers to your changing roles-you are taking a new approach to life. But if you set your shoes aside or forget them, it suggests that you are leaving behind your inhibitions, or perhaps that you are refusing to conform to some idea or attitude. That the shoes are red like the stars forces a connection or comparison. If the stars represent the woman’s spiritual life, the shoes can be seen to exist entirely on the physical plane. They seem to be cast aside, but not completely shunned. Will the mermaid turn away from her earthly, human body, or does the presence of the shoes signify that she is conflicted and and hesitant to do so?
The empty electrical socket at the bottom left indicates perhaps that not all assets are being utilized. Or maybe it is warning that there is a distinct division, a wall if you will, between the world of water and the world of dry land. In other words, there is no going back once the decision has been made.
Brilliant (SOLD)
Hot Mama Madonna
This painting was inspired by memories of time spent at the beauty parlor with my grandmother when I was a small child. Every Saturday morning, she was the first one in the door of the turquoise tinted salon where she would spend the next two hours being shampooed, curled, brushed out, styled and shellacked. This left her with a somewhat curly, somewhat fluffy coiffure that was very much at risk in the elements of nature.
The background refers in a subtle way to the notion that women who put themselves through this routine became like hothouse flowers. The popcorn box hints at the potential for transformation, but even that seems to be somewhat like forcing a flower to bloom in an artificial way. The flames indicate that things could go horribly wrong. And this woman looks like she is about to pop! The electric coil that forms her halo represents industry, science and progress--all components of the beauty business. It also gives a nod to the stereotypical domestic goddess that had been the ideal in the not so distant past. And as the neon icon at the apex of the painting reveals, this whole idea of pursuing beauty is revealed as in fact the pursuit of love. |
No Faux Cowboys
“I hate rude behavior in a man,' he explained in his quiet, unassuming drawl. 'I won't tolerate it.' He politely tipped his hat, and rode away.”
― Larry McMurtry, Lonesome Dove
The painting of Gus and Call measures 24" wide and 36" tall. It is mixed media, paper and acrylic paint on canvas. The faux leather was created on pages from McMurtry's classic novel. SOLD
― Larry McMurtry, Lonesome Dove
The painting of Gus and Call measures 24" wide and 36" tall. It is mixed media, paper and acrylic paint on canvas. The faux leather was created on pages from McMurtry's classic novel. SOLD
ORANGE SERIES
Bound to Be Beautiful (SOLD)
Several months ago I was painting on the porch of the 100 year old hotel where I live, when a man, who had been eating at the pizzeria in our building stopped to visit. He said he had some canvas remnants and asked if I would like them. Of course, I said, “Yes.” He returned about half an hour later with an eight foot long cardboard tube. He said he had salvaged the rolled up canvas when some workers were replacing the orange canopy at the local Ulta cosmetics store. He had no use for 40 feet of orange canvas, but he figured someone could use it. He also gave me a scale model of Mt. St. Helens that he had made.
I propped the canvas in the corner of my studio space and didn’t think much about it until a few weeks ago. When I emptied it from the tube, no small feat in my compact apartment, I discovered that it was in good shape. I immediately thought of a painting that had been blooming in my brain for a while. I wanted to paint a pair of vintage women modeling foundation garments. But I wanted to make them large and was hesitant to spend the necessary funds for a large canvas that would also be difficult to store or even display. This was the perfect solution.
The more I considered the orange color, the more perfect it became for my purposes. I had seen several pulp fiction book covers with orange backgrounds and a limited palette, mostly reds, golds, black and white. My photographic source material came from vintage catalogue black and white images. A bit of computer manipulation turned the photos into highly contrasting shots that could easily be interpreted into the style I had imagined.
As I painted, I recalled that a couple of my artist friends had recently commented that I had been using a lot of yellow in my work and wondered what that implied. So I considered the multi-faceted meaning of the color. According to common symbolic connotations, yellow can represent intellect, energy, agility, happiness, harmony, and wisdom. On the other hand, it can also have negative connotations such as deceit, disgrace, betrayal, cowardice and even sickness. If you dream of yellow, (which can be considered to be merely a symbolic thought) the color yellow can represent a fear or an inability to make a decision or to take action. It may indicate that you have a desire to please others at the risk of sacrificing your own needs and happiness. BINGO! This is how I would use the yellow in my painting. This perfectly describes the women in the girdles. According to Dream Moods, “Orange denotes hope, friendliness, courtesy, generosity, liveliness, sociability, and an outgoing nature. It also represents a stimulation of the senses. You feel alive! You may want to expand your horizons and look into new interests.” Isn’t this what the women really aspire toward? Even though they are clad in yellow, don’t they long to be more orange?
Then of course, we must consider that the underwear was almost always white, representing purity, perfection, innocence, dignity, cleanliness, awareness and new beginnings. This is asking a lot of a bra and girdle! White can also refer to a reawakening or a fresh outlook on life, a clean blank slate. Obviously these women were hoping for all of the above when cramming themselves into the stretchy garments. What they may not have considered, however, is that white is often associated with a cover-up, and in some cultures is even associated with death and mourning.
These are just a few of the places my mind wandered as I painted. By making the contrast stark, it seemed to illuminate the women. And because they are obviously vintage models, as are their girdles, I was hoping this would shine some light, so to speak, on their willingness to squeeze their bodies into a false shape. This is what lead me to the title, “Bound to Be Beautiful.” I like the double meaning here. The women are literally bound by elastic, contorting their shapes into that which was considered attractive at the time. They are determined. And it is bound to work! How could it fail? But at what cost?
And what perfect irony that the painting is constructed on the orange canvas from Ulta, a major chain of beauty stores. And the reason I ended up with the canvas is that the stores change out the awnings regularly so they don’t start to show their age…
I decided to leave the canvas unbound, symbolizing freedom.
I propped the canvas in the corner of my studio space and didn’t think much about it until a few weeks ago. When I emptied it from the tube, no small feat in my compact apartment, I discovered that it was in good shape. I immediately thought of a painting that had been blooming in my brain for a while. I wanted to paint a pair of vintage women modeling foundation garments. But I wanted to make them large and was hesitant to spend the necessary funds for a large canvas that would also be difficult to store or even display. This was the perfect solution.
The more I considered the orange color, the more perfect it became for my purposes. I had seen several pulp fiction book covers with orange backgrounds and a limited palette, mostly reds, golds, black and white. My photographic source material came from vintage catalogue black and white images. A bit of computer manipulation turned the photos into highly contrasting shots that could easily be interpreted into the style I had imagined.
As I painted, I recalled that a couple of my artist friends had recently commented that I had been using a lot of yellow in my work and wondered what that implied. So I considered the multi-faceted meaning of the color. According to common symbolic connotations, yellow can represent intellect, energy, agility, happiness, harmony, and wisdom. On the other hand, it can also have negative connotations such as deceit, disgrace, betrayal, cowardice and even sickness. If you dream of yellow, (which can be considered to be merely a symbolic thought) the color yellow can represent a fear or an inability to make a decision or to take action. It may indicate that you have a desire to please others at the risk of sacrificing your own needs and happiness. BINGO! This is how I would use the yellow in my painting. This perfectly describes the women in the girdles. According to Dream Moods, “Orange denotes hope, friendliness, courtesy, generosity, liveliness, sociability, and an outgoing nature. It also represents a stimulation of the senses. You feel alive! You may want to expand your horizons and look into new interests.” Isn’t this what the women really aspire toward? Even though they are clad in yellow, don’t they long to be more orange?
Then of course, we must consider that the underwear was almost always white, representing purity, perfection, innocence, dignity, cleanliness, awareness and new beginnings. This is asking a lot of a bra and girdle! White can also refer to a reawakening or a fresh outlook on life, a clean blank slate. Obviously these women were hoping for all of the above when cramming themselves into the stretchy garments. What they may not have considered, however, is that white is often associated with a cover-up, and in some cultures is even associated with death and mourning.
These are just a few of the places my mind wandered as I painted. By making the contrast stark, it seemed to illuminate the women. And because they are obviously vintage models, as are their girdles, I was hoping this would shine some light, so to speak, on their willingness to squeeze their bodies into a false shape. This is what lead me to the title, “Bound to Be Beautiful.” I like the double meaning here. The women are literally bound by elastic, contorting their shapes into that which was considered attractive at the time. They are determined. And it is bound to work! How could it fail? But at what cost?
And what perfect irony that the painting is constructed on the orange canvas from Ulta, a major chain of beauty stores. And the reason I ended up with the canvas is that the stores change out the awnings regularly so they don’t start to show their age…
I decided to leave the canvas unbound, symbolizing freedom.
Art Deco Madonna (SOLD)
This one has a painted surface of 40" wide and 60" tall. It is based on the real life story of Ziegfield girl, Myrna Darby.
The detail photos below provide a closer look at some of the abstract expressionism canvases that swirl around the subjects's head.
This painting is a little different in that the subject is a real person. Her name is Myrna Darby and she was a Ziegfield Follies girl. Born to a captain of detectives for the B and O Railroad, Myrna was a bookkeeper in the prohibition enforcement offices in the Pennsylvania House. She was discovered by Ziegfield himself when she was 17. She was once hailed as the most beautiful of the Ziegfield girls and was described by those who knew her as being the most thoughtful and the sweetest girl in show business. Myrna Darby died at the young of 21 due to an acute case of “sunburn and strenuous swimming” which caused an inflammation of her heart. She had been diagnosed with serious heart trouble 6 months prior to her death. The number 21 is often thought to be the transitional age into adulthood, so this caught my attention.
Darby’s story is a tragic one. This, combined with her beauty and sweetness, has always struck a chord in me. I have painted her several times. And she immediately came to mind as a Madonna figure when I considered this project. The name, "Myrna," means peaceful, tender, and beloved. She seems then to be a legitimate Mary figure, and ever since the first time I saw this particular pose with her holding the pearls, I noted that not only did she look angelic, she looked like she was holding a rosary. The word rosary comes from Latin and means a garland of roses, the rose being one of the flowers used to symbolize the Virgin Mary. It is for this reason that I surrounded her aura with fifteen roses. This symbolizes the Fifteen Mysteries of the Rosary (consisting of the Glorious mysteries, the joyful mysteries, and the Sorrowful mysteries--the Luminous mysteries were later added). Fifteen represents a harmonious life, a synthesis of matter and spirit. I chose to make the roses orange because this color of flower is symbolically linked with fascination. The roses are a hint to look at the way Darby holds the pearls and elevate her to the level of spiritual symbol. I think this idea is further emphasized by the way she seems to gaze off into the distance as though into another realm.
Pearls are said to symbolize the purity, generosity, integrity and loyalty of their wearer. They are believed to offer protection. Unfortunately this was not enough to protect Myrna Darby. When one looks upon her face, it is as though a narrative is waiting to be told. She is indeed physically beautiful, but she also appears to have a mystical beauty.
Note that there is a scarab at the top of the painting. There is also a hint of a sun disk being held over its head. While beetles are often seen as symbols of rebirth and regeneration, they are also indicative that some destructive influences may be at work. This gives them an ominous presence.
In ancient Egyptian religion, the sun god Ra is seen to roll across the sky each day, transforming bodies and souls. The earthly scarab beetle rolls dung into a ball as food and as a brood chamber, and is therefore seen as a symbol for the idea of rebirth and regeneration. In fact, Ra was often depicted as a scarab beetle or as a scarab beetle-headed man. Ancient Egyptians believed that Khepri renewed the sun every day before rolling it above the horizon, then carried it through the other world after sunset, only to renew it again the next day. For these reasons the scarab has become a symbol of immortality and transformation. It is used as a sign of protection in funerary art.
When I was looking for an Art Deco symbol to use as Darby’s halo, I came across this image which is actually a framed mirror. It brought to mind the mathematical term “squaring the circle,” which is sometimes used as a metaphor for trying to do the impossible. It has to do with the fact that pi was proven to be a “transcendental” number. This seemed to further enhance my idea that Darby was the perfect figure to place in this piece. As I was working on the squares, it occurred to me that they looked very plain painted as I had painted them in gradients of different colors. All the while I worked I had been thinking of the many things Darby had missed by dying so young. I had also been reading a lot about Abstract Expressionism, and the idea bloomed in my mind to transform each of the small squares into abstract paintings. Some are recognizable and are tributes to those particular artists. Some are my own creations. There are 24 of them and they are shadowed against the canvas behind them. This is another reference, I guess a sort of two-pronged one, to the sun as well as to the passage of time, and therefore a means of underlining Darby’s short time on earth. I wanted to give the impression of a ticking clock. The sunburst pattern which is repeated across the background of the canvas reiterates this idea, and it was a common pattern in Art Deco designs.
Darby’s story is a tragic one. This, combined with her beauty and sweetness, has always struck a chord in me. I have painted her several times. And she immediately came to mind as a Madonna figure when I considered this project. The name, "Myrna," means peaceful, tender, and beloved. She seems then to be a legitimate Mary figure, and ever since the first time I saw this particular pose with her holding the pearls, I noted that not only did she look angelic, she looked like she was holding a rosary. The word rosary comes from Latin and means a garland of roses, the rose being one of the flowers used to symbolize the Virgin Mary. It is for this reason that I surrounded her aura with fifteen roses. This symbolizes the Fifteen Mysteries of the Rosary (consisting of the Glorious mysteries, the joyful mysteries, and the Sorrowful mysteries--the Luminous mysteries were later added). Fifteen represents a harmonious life, a synthesis of matter and spirit. I chose to make the roses orange because this color of flower is symbolically linked with fascination. The roses are a hint to look at the way Darby holds the pearls and elevate her to the level of spiritual symbol. I think this idea is further emphasized by the way she seems to gaze off into the distance as though into another realm.
Pearls are said to symbolize the purity, generosity, integrity and loyalty of their wearer. They are believed to offer protection. Unfortunately this was not enough to protect Myrna Darby. When one looks upon her face, it is as though a narrative is waiting to be told. She is indeed physically beautiful, but she also appears to have a mystical beauty.
Note that there is a scarab at the top of the painting. There is also a hint of a sun disk being held over its head. While beetles are often seen as symbols of rebirth and regeneration, they are also indicative that some destructive influences may be at work. This gives them an ominous presence.
In ancient Egyptian religion, the sun god Ra is seen to roll across the sky each day, transforming bodies and souls. The earthly scarab beetle rolls dung into a ball as food and as a brood chamber, and is therefore seen as a symbol for the idea of rebirth and regeneration. In fact, Ra was often depicted as a scarab beetle or as a scarab beetle-headed man. Ancient Egyptians believed that Khepri renewed the sun every day before rolling it above the horizon, then carried it through the other world after sunset, only to renew it again the next day. For these reasons the scarab has become a symbol of immortality and transformation. It is used as a sign of protection in funerary art.
When I was looking for an Art Deco symbol to use as Darby’s halo, I came across this image which is actually a framed mirror. It brought to mind the mathematical term “squaring the circle,” which is sometimes used as a metaphor for trying to do the impossible. It has to do with the fact that pi was proven to be a “transcendental” number. This seemed to further enhance my idea that Darby was the perfect figure to place in this piece. As I was working on the squares, it occurred to me that they looked very plain painted as I had painted them in gradients of different colors. All the while I worked I had been thinking of the many things Darby had missed by dying so young. I had also been reading a lot about Abstract Expressionism, and the idea bloomed in my mind to transform each of the small squares into abstract paintings. Some are recognizable and are tributes to those particular artists. Some are my own creations. There are 24 of them and they are shadowed against the canvas behind them. This is another reference, I guess a sort of two-pronged one, to the sun as well as to the passage of time, and therefore a means of underlining Darby’s short time on earth. I wanted to give the impression of a ticking clock. The sunburst pattern which is repeated across the background of the canvas reiterates this idea, and it was a common pattern in Art Deco designs.
Mid Century Modern Madonna (SOLD)
This is my third in a series of paintings rendered on salvaged canvas from the awnings of our local Ulta cosmetics store. I have intended to paint this retro/modern woman for a while. She is seemingly relaxed, with her arm draped over the back of the chair as though to anchor herself. Or perhaps to hide something behind in her hand? Is her chair a throne, or is she confined to it? A chair is often the thing one is secured to who is held against her will. The chair on which she is perched is called a mid century Madonna. It is not an actual mid century modern design, however, but is a modern knock-off. I honestly don’t know why it is called a Madonna, unless, as my knowledgeable source, Tad, suggested, “This design spawned so many similar chairs that it may be considered ‘The Mother’ of the style.”
Note that her body language places her in a forward leaning motion. She looks interested in something in front of her. She is both observer, and yet has also obviously set herself up to be observed. She is slightly contrapposto, an Italian term that means counterpoise. It usually describes a human figure standing with most of its weight on one foot so that its shoulders and arms twist off-axis from the hips and legs. And while my figure is sitting, to me it works the same way in that it gives the figure a more dynamic, and yet conversely, relaxed, nonchalant appearance. Her arm is aligned with her crossed leg. Her head is almost balanced, leaning ever so slightly to her right side. My research into heraldry says this is the dexter side, as opposed to the sinister, or left side. Her right arm is elevated, and her left hand is down, or in the underhanded position, again hinting at obscuration. Her legs are crossed, implying both defensiveness and seductiveness. (There is a double edged sword for you.)
Her hair is pulled back, fluffy, forming a kind of crown or aura. This also allows her to see and be seen. Her hair is upwardly curled. She seems determined to look perky. Artificial. She seems fresh from the salon. She is perhaps overly conscious about her appearance. This also suggests deception. And she is wearing a headband, which symbolically represents that she is holding back some information. There is a secret that she is not revealing. Alternatively, this can mean that there is something she needs to think carefully about.
The manhole cover calls to mind a corona or aura about her head. This particular cover is from Portland, Oregon. I chose it because that environ is considered to be a good example of a mid mod city, and since I relocated, it is close to where I live. I also liked the simplicity, the rose, and the basket weave design. A book I found on manhole covers explains, “They seal off and provide entry to an underground world of conduits, water mains, power lines, and sewers. They appear by the thousands in our cities, but very few people ever look at them or think about them as art.”
One reason I used the manhole cover is because I wanted to elevate it to the level of art. I also like the idea that it is sealing off the woman, and in fact the world, from danger, or power, or even another realm. The design has a rose in the center, but the viewer can’t see it since the woman’s head is in front of it. I decided, however, to keep the rose in the center of my composition by moving it to the neckline of the woman’s dress.
Roses often symbolize love, passion, desire, femininity, unity and romance. And according to Freud, the rose represents the female genitalia. What does it say that the rose on the manhole cover is behind her head? What does it say that instead of covering it with her intellect, she has chosen to adorn herself with it? Consider that the rose image, which was copied in its metallic state from the metal of the cover, connects itself to the cover in spite of the fact that the woman is sandwiched between the two elements. It is as though she is secured into her position by a magnet force. Or perhaps the flower is blooming through her even though she has attempted to hide it. Consider also that the rose, in the form of a brooch (an ornament fastened to her clothing), is often confused with the word, broach, which means to raise a sensitive or difficult subject for discussion. In other words, the truth will out.
The rose is identified with the Virgin Mary in Christianity. The rose symbol eventually led to the creation of the rosary. Ever since the 1400s, the Franciscans have had a Crown Rosary of the Seven Joys of the Blessed Virgin Mary. Note that in my painting, there are seven Christmas lights in primary colors around the perimeter of the orb. The number seven is a highly spiritual number that is associated with intuition, mysticism, inner wisdom, and a deep inward knowing. So, is this girl a symbol for Mary? She does, indeed, look pretty wholesome.
According to the Urban Dictionary, a “Mary” is “a kind, caring, beautiful, stunning and amazing girl that everyone has to fall in love with. She is committed to one guy only, and is very faithful. She is the best girl you’ll ever have the pleasure of meeting in your life. Every time she enters the room, suddenly you are filled with joy, and she is always able to put a giant smile on your face. She makes you feel at home, loved, and like there’s no one else but you. She gets excited about everything, which brightens up your day. Despite how much she’s been through, she’s still the strongest and the most amazing girl you’ll ever meet. She is perfect in every way. She is the best girl you’ll ever meet in your life, and time stops every time you see her, because she is just so beautiful, and everything a guy could ever ask for.” And strangely enough, a couple of people have pointed out that the figure resembles Mary Tyler Moore in her TV role as Laura Petrie.
So let’s consider these things. A covering indicates that there is a part of yourself that you are trying to hide or are afraid of revealing. It is also a protective device and a portal. The circle symbolizes perfection, completeness, and even immortality. Consider also that this woman figure is a Madonna. She is a symbol of nurturance, passivity and a caring nature. But she also indicates temptation and guilt. Is she simply elevated because she is beautiful?
The lights around the perimeter of the manhole cover represent illumination, of course, but also clarity, guidance and understanding. Light bulbs are a symbol of our consciousness, as well as an indication that one is willing to approach a situation from a new direction. Note, if you please, that the lights are lit but are obviously unplugged. This implies that the woman is her own energy source and that her power stems from an integration of her mind and body, not some external source. The basket weave on the manhole cover symbolizes the womb and the physical body. It denotes abundance and fertility. It can also represent the things that one is holding on to. The way it surrounds the woman’s head indicates the importance of the mind/body connection.
The background is simple, just a little flocked wallpaper intended to ground the subject. Flock, however, is an interesting word with a lot of meanings. The girl could have admirers flocking around her in the physical sense, as in the cult of beauty, or she could have a flock as in a congregation, which elevates her to the spiritual realm.
Note that her body language places her in a forward leaning motion. She looks interested in something in front of her. She is both observer, and yet has also obviously set herself up to be observed. She is slightly contrapposto, an Italian term that means counterpoise. It usually describes a human figure standing with most of its weight on one foot so that its shoulders and arms twist off-axis from the hips and legs. And while my figure is sitting, to me it works the same way in that it gives the figure a more dynamic, and yet conversely, relaxed, nonchalant appearance. Her arm is aligned with her crossed leg. Her head is almost balanced, leaning ever so slightly to her right side. My research into heraldry says this is the dexter side, as opposed to the sinister, or left side. Her right arm is elevated, and her left hand is down, or in the underhanded position, again hinting at obscuration. Her legs are crossed, implying both defensiveness and seductiveness. (There is a double edged sword for you.)
Her hair is pulled back, fluffy, forming a kind of crown or aura. This also allows her to see and be seen. Her hair is upwardly curled. She seems determined to look perky. Artificial. She seems fresh from the salon. She is perhaps overly conscious about her appearance. This also suggests deception. And she is wearing a headband, which symbolically represents that she is holding back some information. There is a secret that she is not revealing. Alternatively, this can mean that there is something she needs to think carefully about.
The manhole cover calls to mind a corona or aura about her head. This particular cover is from Portland, Oregon. I chose it because that environ is considered to be a good example of a mid mod city, and since I relocated, it is close to where I live. I also liked the simplicity, the rose, and the basket weave design. A book I found on manhole covers explains, “They seal off and provide entry to an underground world of conduits, water mains, power lines, and sewers. They appear by the thousands in our cities, but very few people ever look at them or think about them as art.”
One reason I used the manhole cover is because I wanted to elevate it to the level of art. I also like the idea that it is sealing off the woman, and in fact the world, from danger, or power, or even another realm. The design has a rose in the center, but the viewer can’t see it since the woman’s head is in front of it. I decided, however, to keep the rose in the center of my composition by moving it to the neckline of the woman’s dress.
Roses often symbolize love, passion, desire, femininity, unity and romance. And according to Freud, the rose represents the female genitalia. What does it say that the rose on the manhole cover is behind her head? What does it say that instead of covering it with her intellect, she has chosen to adorn herself with it? Consider that the rose image, which was copied in its metallic state from the metal of the cover, connects itself to the cover in spite of the fact that the woman is sandwiched between the two elements. It is as though she is secured into her position by a magnet force. Or perhaps the flower is blooming through her even though she has attempted to hide it. Consider also that the rose, in the form of a brooch (an ornament fastened to her clothing), is often confused with the word, broach, which means to raise a sensitive or difficult subject for discussion. In other words, the truth will out.
The rose is identified with the Virgin Mary in Christianity. The rose symbol eventually led to the creation of the rosary. Ever since the 1400s, the Franciscans have had a Crown Rosary of the Seven Joys of the Blessed Virgin Mary. Note that in my painting, there are seven Christmas lights in primary colors around the perimeter of the orb. The number seven is a highly spiritual number that is associated with intuition, mysticism, inner wisdom, and a deep inward knowing. So, is this girl a symbol for Mary? She does, indeed, look pretty wholesome.
According to the Urban Dictionary, a “Mary” is “a kind, caring, beautiful, stunning and amazing girl that everyone has to fall in love with. She is committed to one guy only, and is very faithful. She is the best girl you’ll ever have the pleasure of meeting in your life. Every time she enters the room, suddenly you are filled with joy, and she is always able to put a giant smile on your face. She makes you feel at home, loved, and like there’s no one else but you. She gets excited about everything, which brightens up your day. Despite how much she’s been through, she’s still the strongest and the most amazing girl you’ll ever meet. She is perfect in every way. She is the best girl you’ll ever meet in your life, and time stops every time you see her, because she is just so beautiful, and everything a guy could ever ask for.” And strangely enough, a couple of people have pointed out that the figure resembles Mary Tyler Moore in her TV role as Laura Petrie.
So let’s consider these things. A covering indicates that there is a part of yourself that you are trying to hide or are afraid of revealing. It is also a protective device and a portal. The circle symbolizes perfection, completeness, and even immortality. Consider also that this woman figure is a Madonna. She is a symbol of nurturance, passivity and a caring nature. But she also indicates temptation and guilt. Is she simply elevated because she is beautiful?
The lights around the perimeter of the manhole cover represent illumination, of course, but also clarity, guidance and understanding. Light bulbs are a symbol of our consciousness, as well as an indication that one is willing to approach a situation from a new direction. Note, if you please, that the lights are lit but are obviously unplugged. This implies that the woman is her own energy source and that her power stems from an integration of her mind and body, not some external source. The basket weave on the manhole cover symbolizes the womb and the physical body. It denotes abundance and fertility. It can also represent the things that one is holding on to. The way it surrounds the woman’s head indicates the importance of the mind/body connection.
The background is simple, just a little flocked wallpaper intended to ground the subject. Flock, however, is an interesting word with a lot of meanings. The girl could have admirers flocking around her in the physical sense, as in the cult of beauty, or she could have a flock as in a congregation, which elevates her to the spiritual realm.
The Girl with the Getaway Face
Having grown up reading the writing of Mickey Spillane and John D. McDonald, I have long admired the brazen ladies on the covers of crime novels. Even though my reading tastes have broadened, I still read an occasional murder mystery. Recently I came across a reference in a mystery wherein the cops referred to a beautiful woman as having a “getaway face,” implying that she was so attractive that she could literally get away with murder! When I read this I immediately recalled the noir novel covers of my youth. And since I had been gifted with several yards of orange canvas (reclaimed when the local Ulta cosmetics store replaced their aging canopies), it was a short hop to envisioning a dramatically lighted female face that seemed to tell a story of its own.
Captured mostly in contrasting yellows and oranges, my pop art portrait screams with chiaroscuro and whispers of mystery. Lit only by a single candle, the woman’s face is indeed lovely, with an exaggerated wide-eyed innocence that is perhaps somehow at odds with the conspicuously large, multi-faceted ring on her finger. Her jeweled hand is held near her face as though to make sure the ring is illuminated, and her index finger is deliberately placed beside her mouth in a somewhat disingenuous pose, almost as though she is shushing the viewer, while effectively leading the eye upward to her ripe lips and lushly lashed eyes.
It is the push/pull of opposites (light and dark, innocence and guile) that creates tension in the portrait and leads the viewer to wonder what the subject has to hide and what she is willing to reveal and manipulate in order to do that.
Price: $1,200
Captured mostly in contrasting yellows and oranges, my pop art portrait screams with chiaroscuro and whispers of mystery. Lit only by a single candle, the woman’s face is indeed lovely, with an exaggerated wide-eyed innocence that is perhaps somehow at odds with the conspicuously large, multi-faceted ring on her finger. Her jeweled hand is held near her face as though to make sure the ring is illuminated, and her index finger is deliberately placed beside her mouth in a somewhat disingenuous pose, almost as though she is shushing the viewer, while effectively leading the eye upward to her ripe lips and lushly lashed eyes.
It is the push/pull of opposites (light and dark, innocence and guile) that creates tension in the portrait and leads the viewer to wonder what the subject has to hide and what she is willing to reveal and manipulate in order to do that.
Price: $1,200
Window on a Changing World (SOLD)
The woman in the painting seems to be looking out a window toward the future. Note the band of orange across the left, or western, edge of the painting. It is as though that is the sunset and she is looking beyond it, past the end of a cycle, to a time of change. The large size of the window hints at her openness to new experiences. In order for her to achieve her vision, however, she must pull aside the sheer curtain, or veil a symbol of humility, coyness or innocence. Perhaps that she is opening the curtains indicates that she is ready to reveal something hidden about herself. Some of the symbols presented here include:
- The gloves are a noticeable item in this image. To wear gloves indicates symbolically how one handles things. Perhaps the flapper is getting a handle on a problem, one that she is hesitant to grasp directly.
- In much the same way, the headband can be seen as a buffer, as though the woman is holding back some information. Is there a secret or a plan that she is not revealing? She definitely has a contemplative countenance. Attached to the band is a feather. Ornamental feathers can denote advancement up the social ladder, a predictor of success in the future.
- The woman is further adorned with a pearls. This is emblematic of inner beauty, perfection, and purity. The fact that the string consists of all the same size represents conformity and sameness. The way the necklace is looped around her neck, seems almost to be threatening to choke her, indicating that pressure to conform is creating discomfort.
- Lace is often associated with sensuality and femininity, but it is also a symbol of tradition and old-fashioned ideals.
NOTE: Two or three times each year, I create a series of 6" x 6" paintings, usually to try out a new style or subject. The 12 pieces below are my latest experimental minis. They sold out immediately, but stay tuned, because some of them are destined to find their way onto larger canvases.
GOLDEN GYPSY (SOLD)
DANCING IN THE STREETS (SOLD)
Created with a knife and heavy body acrylic paints, this 4' x 5' piece hangs in the Long Bell Steak House in the Monticello Hotel in Longview, Washington. It superimposes a couple of colorfully updated Botticelli dancing muses from his Primavera into a modern night street scene.
FRESH FACE IV
This elaborate collage portrait was inspired by the many photos of the iconic Marilyn. It provides the viewer with a close up experience filled with detailed shapes overlapping to create a geometric field. From a distance the details of the face take form.
30" x 40"
30" x 40"
RECUPERATION (SOLD)
This canvas features the iconic Marilyn at her leisure. It was created with heavy body acrylic paint and measures 30" x 40".
12" x 16" prints of this painting are available here: www.saatchiart.com/art/Painting-Recuperation-II/287299/4557359/view |
HOMAGE TO DALI'S GALA
This 30" x 40" collage is made up of almost 3,000 half inch squares which were cut from photos of Salvadore Dali's paintings. It is a portrait, of course, of Abe Lincoln, and a direct reference to Dali's painting "Gala Contemplating the Mediterranean Sea."
This painting will be included in my August show at the Koth Gallery in the Longview Public Library.
This painting will be included in my August show at the Koth Gallery in the Longview Public Library.
HELLO DALI SOLD)
This smaller portrait of the artist, Salvador Dali, measures 20" x 20" and is also with pixels cut from his paintings.
LOVE LETTER TO PRINCESS DIANA
This 30" x 30" pop art portrait of Princess Diana is painted with acrylic and highlighted with gold leaf over a background of vintage British postage stamps and their envelope backings.
INDUSTRIOUS BIRD TWO MOONS
This lively, modern take on a city-scape, is painted with heavy impasto on pages from Murakami's dystopian novel, 1Q84, which is printed in the original Japanese text.
Note that there are two moons in the sky. This was the clue in the novel that the characters were living in an alternate universe.
This piece measures 20" x 20".
Note that there are two moons in the sky. This was the clue in the novel that the characters were living in an alternate universe.
This piece measures 20" x 20".
This pop art portrait of Daenerys Targaryen is, of course, painted on pages from Game of Thrones.
It measures 30" x 40". SOLD
It measures 30" x 40". SOLD
ONCE AN EAGLE (SOLD)
Painted on pages from Anton Myrer's novel of the same title, this 30" x 40" painting is acrylic on text over canvas. The title refers to a quote attributed to Aeschylus:
“So in the Libyan fable it is told
That once an eagle, stricken with a dart,
Said, when he saw the fashion of the shaft,
With our own feathers, not by others' hands,
Are we now smitten.”
What then, is the meaning and significance of these words? According to the blog, The Vitruvian Man, "We must continue to search for world peace and for alternatives other than conflict to resolve our difference."
“So in the Libyan fable it is told
That once an eagle, stricken with a dart,
Said, when he saw the fashion of the shaft,
With our own feathers, not by others' hands,
Are we now smitten.”
What then, is the meaning and significance of these words? According to the blog, The Vitruvian Man, "We must continue to search for world peace and for alternatives other than conflict to resolve our difference."
NEW LOCAL COLOR SERIES
This series is one I began when I moved to Washington a year ago. Because I took up residence in a century old hotel, which is an historical center point of the city, I imagined some of the celebrities and iconic personalities who could have visited there in the past. I painted portraits of these famous figures in local settings. For example, Elvis is pictured dining in the Monticello Hotel bar and Audrey Hepburn is shown in the backseat of a vintage taxi as it passes the Columbia theater downtown.
Note that these pop art portraits are an offshoot of an ongoing series of mine titled, "I Just Don't Read Like I Used To," in which I paint the images on pages of the celebrities' biographies or fictional works which have been made into films. For example, the portrait of Audrey Hepburn is painted on the text from Truman Capote's Breakfast at Tiffany's.
Others featured in the series include: Elizabeth Taylor, Johnny Cash, Albert Einstein, Ann Margret, Frank Sinatra, Marilyn Monroe, James Dean, Janis Joplin, John Wayne, Jimi Hendrix, Frida Kahlo, Edgar Allan Poe, Willie Nelson, Bruce Lee, Billie Holiday, Charlie Chaplin, Scarlet O'Hara, Vivien Leigh, Gregory Peck, John F. Kennedy, Martin Luther King, and, of course, The Beatles. While most of these works are large, averaging 2'x3', some are smaller, measuring 8" x 10" and have decorated the elevator walls of the hotel.
Note that these pop art portraits are an offshoot of an ongoing series of mine titled, "I Just Don't Read Like I Used To," in which I paint the images on pages of the celebrities' biographies or fictional works which have been made into films. For example, the portrait of Audrey Hepburn is painted on the text from Truman Capote's Breakfast at Tiffany's.
Others featured in the series include: Elizabeth Taylor, Johnny Cash, Albert Einstein, Ann Margret, Frank Sinatra, Marilyn Monroe, James Dean, Janis Joplin, John Wayne, Jimi Hendrix, Frida Kahlo, Edgar Allan Poe, Willie Nelson, Bruce Lee, Billie Holiday, Charlie Chaplin, Scarlet O'Hara, Vivien Leigh, Gregory Peck, John F. Kennedy, Martin Luther King, and, of course, The Beatles. While most of these works are large, averaging 2'x3', some are smaller, measuring 8" x 10" and have decorated the elevator walls of the hotel.
Hail Columbia (SOLD)
This 24" x 48" acrylic piece is painted on pages from Breakfast at Tiffany's. It features the local theatre as seen from the backseat of a taxi.
Elvis Sighting (SOLD)
This 30" square canvas is painted on pages from Elvis After Life, a book which chronicles supposed sightings of Elvis since his death in 1977.
Also at the Monticello Hotel
I have a few larger portraits throughout the hotel. I was commissioned to paint a tribute of Naomi Parker Fraley, most commonly known as the original Rosie the Riveter. She lived in Longview, Washington at the time of her death, and the portrait was unveiled at her Celebration of Life.
The portrait of Al Capone was commissioned also from the Monticello because his original bar from Chicago is featured in the Crystal Ballroom. For photos of the bar and ballroom and more information on their history, click on the portrait of Capone.
In another of the large pieces, Frank Sinatra plays the piano in hotel's lobby. An interesting side note: When I was painting this portrait, a wren built her nest in the silk flower arrangement which is seen on the piano. A few weeks later the three eggs hatched and the family of birds still visits the lobby.
The portrait of Al Capone was commissioned also from the Monticello because his original bar from Chicago is featured in the Crystal Ballroom. For photos of the bar and ballroom and more information on their history, click on the portrait of Capone.
In another of the large pieces, Frank Sinatra plays the piano in hotel's lobby. An interesting side note: When I was painting this portrait, a wren built her nest in the silk flower arrangement which is seen on the piano. A few weeks later the three eggs hatched and the family of birds still visits the lobby.
(SOLD) Vintage Monticello
This 30" x 30" mixed media piece is acrylic on newspaper over canvas. The text comes from the local Longview newspaper, The Daily News. I like how the reflection of the iconic Monticello Hotel sign at first appears to be a red lipstick print on the wine glass. And I intentionally left the paint very thin in some places, nonexistent in others, with the hope of achieving a breathy feeling. (Click on images for larger versions.)
Beatles Quarto
This four piece set hangs in the Monticello Pizzeria dining room. It is painted on a biography of the Fab Four.
Flapper Series
I have painted several flappers which hang in the Monticello. The hotel was built in 1924, so it is not difficult to imagine these ladies hanging out there when it opened.
Shady Business (shown here at Roast Social Kitchen)
Sadness Series
Good News!!!
I recently sold a painting titled "Political Aspirations to the Renaissance Blackstone Hotel in Chicago, and they liked it so much, they are putting it on some of their guest key cards! The painting is featured below. The original piece hangs in the hotel's 1600 club.
To read about the art collection of the Blackstone Hotel, go here: http://www.10best.com/interests/hotels-resorts/the-blackstone-hotels-amazing-art-collection-is-better-than-a-museum/
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Sometimes, I see a face that I just can't resist painting! And it is always fun to surprise my models with their celebrity pop art portraits!
All of the paintings below are SOLD!