Category Archives: EVERYTHING

from the book 'is is', paper collage, 2012

is is

Is Is is a codex of collage that intends to semiotically explains our current human paradigm through employing symbols of various traditions to challenge the dominant capitalist narrative of freedom through object oriented mechanized progress, instead reinforcing that we are all emancipators of ourselves. Is Is questions the nature of reality and consciousness, reminding us that to be human is to be aware of being alive—of being a being—within time and space.

Is Is is composed of 108 pages (54 front / back panels) of paper collage on illustration board. Its images were sourced from secondhand gifts or found materials, most of which was trash. It was conceived and completed over a period of 3 years, between 2012 and 2015, between la crosa (italia), san francisco and berlin.

collages

national security state, paper collage, 2012national security state, paper collage, 2012

national security state, paper collage, 2012national security state, paper collage, 2012

awaken, paper collage, 2012

awaken, paper collage, 2012

saving-grace1

rare-earths-common-dreams1

pre-post-history's ghost, 8" x 12", paper collage, 2012

pre-post-history’s ghost, 8″ x 12″, paper collage, 2012

ancient future, 34cm x 46cm, collage on mdf, 2010

ancient future, 34cm x 46cm, collage on mdf, 2010

disembark, 30cm x 24cm, collage on mdf, 2010

disembark, 30cm x 24cm, collage on mdf, 2010

time is a circle., 363cm x 133cm, collage on paper, 2009

time is a circle., 363cm x 133cm, collage on paper, 2009

nothing to eat, 63cm x 67cm, paper collage, 2007

nothing to eat, 63cm x 67cm, paper collage, 2007

dharma dvāra, 40cm x 15cm, collage on poster board, 2010

dharma dvāra, 40cm x 15cm, collage on poster board, 2010

a life, 25cm x 43cm, collage on paper, 2008

a life, 25cm x 43cm, collage on paper, 2008

shadowed past, 20cm x 27cm, collage on paper, 2008

shadowed past, 20cm x 27cm, collage on paper, 2008

the great debate, 18cm x 28cm collage on wood block 2008

the great debate, 18cm x 28cm collage on wood block 2008

the mobile savage, 53cm x 45cm, collage on found wood, 2006

the mobile savage, 53cm x 45cm, collage on found wood, 2006

und allah schuf aus den wassern alles leben, 20cm x 30cm, collage, 2008

und allah schuf aus den wassern alles leben, 20cm x 30cm, collage, 2008

white hole, 160cm x 90cm, collage on mirror, 2009

white hole, 160cm x 90cm, collage on mirror, 2009

wholism, 18cm x 27cm, cut out, 2008

wholism, 18cm x 27cm, cut out, 2008

pasture, 42cm x 29cm, collage on paper, 2009

pasture, 42cm x 29cm, collage on paper, 2009

learning curved, 18cm x 39cm, collage on paper, 2008

learning curved, 18cm x 39cm, collage on paper, 2008

in patience, 21cm x 70cm, collage on paper, 2008

in patience, 21cm x 70cm, collage on paper, 2008

in fin it i, 30cm x 30cm, collage on paper, 2008

in fin it i, 30cm x 30cm, collage on paper, 2008

impose symposia, 40cm x 30cm, collage on wood, 2008

impose symposia, 40cm x 30cm, collage on wood, 2008

gem in i, 28cm x 22cm, collage on paper, 2008

gem in i, 28cm x 22cm, collage on paper, 2008

a naked girl wearing lots of gold, 18cm x 27cm, paper collage, 2009

a naked girl wearing lots of gold, 18cm x 27cm, paper collage, 2009

elohim, 30cm x 30 cm, collage on paper, 2008

elohim, 30cm x 30 cm, collage on paper, 2008

era, or?, 65cm x 42cm, collage on paper, 2009

era, or?, 65cm x 42cm, collage on paper, 2009

event horizon, 40cm x 30cm, collage on paper, 2009

event horizon, 40cm x 30cm, collage on paper, 2009

free time!, 50cm x 50cm, collage on paper, 2008

free time!, 50cm x 50cm, collage on paper, 2008

game preserve, 22cm x 28cm, collage on paper, 2008

game preserve, 22cm x 28cm, collage on paper, 2008

m3tr0p0lis occupy

m3tr0p0lis occupy

m3tr0p0lis occupy began with the album bot hits, which Leslie Kneisel asked me to do to accompany a screening of Fritz Lang’s metropolis at an exhibition of her newer and amazing lithographs in atlanta. spacey, sci-fi and house-y were all adjectives she asked for, as she intended to bring out the aesthetic futurism of metropolis. the resulting bot hits is testament to her intention. i lived in berlin when she suggested working together, and thus was inundated by house music. bot hits grooves steadfastly at 107 bpm, which later made editing it much easier, as coincidentally lang’s editor cuts at about this rate also. i intentionally only watched the trailer of metropolis before composing the music, and after completing bot hits, leslie and i began to cull images and compose the adaptation of lang’s opus. we found the original overlong and sometimes tedious, and the soundtrack cheesy. therefore, we created m3tr0p0lis occupy, which takes its name from a triad of factors. metropolis, 300, who is a homeless man i conversed with at length on the street in berkeley, in which he alleged to have been attacked with a hammer at occupy berkeley, and referred to homelessness as ‘the worst punishment you can imagine’. he is also generous and loves to bestow gifts. occupy, the social movement, zeitgeist of 2012, felt closely aligned to much of the sentiment contained within metropolis (and vice versa). at the heart of occupy was an insistence on heart and the recognition of human energy, which is the dominant theme of metropolis (to use the heart to unite the head and hands, thought/love/action).
infinity in solidarity, 21" x 24" oil on canvas, 2011

infinity in solidarity

infinity in solidarity was painted only 4 days after pancho ramos-stierle, the man here depicted, created this monumental gesture in support of occupy oakland as the camp at oscar grant plaza was forcibly removed for the last time. as a consequence, ramos-stierle is facing deportation, as he moved from mexico to work on his phd at uc-berkeley before quitting the program due to the realization that his work would only be used to make better bombs. he has subsequently focused on activism and human rights. i ran into pancho a month or so after painting him, and let him know about it. he was fairly blase about the painting, but suggested that he meditated in reverence of the first people, the ‘native americans’, to honor their sacrifices and love for the universe. i couldn’t agree more. read more about pancho ramos-stierle on salon.com
the transcendental waterfall, 120 cm x 90 cm, mixed media on canvas, 2010

the transcendental waterfall

the transcendental waterfall, 120 cm x 90 cm, mixed media on canvas, 2010

the transcendental waterfall, 120 cm x 90 cm, mixed media on canvas, 2010

details: 1 4 7 6   2 3 5
and how should they explain it? by not explaining. thus is it called ‘explaining.’ as a lamp, a cataract, a star in space an illusion, a dewdrop, a bubble a dream, a cloud, a flash of lightning view all created things like this. -Diamond Sutra, Chapter 32
the waterfall (or cataract) is a static yet liminal space. an object that is not an object. yes, water falls from one point to another, at a near constant rate, yet the phenomenon of falling water depends on the rate of evapotranspiration and the resolution of drainage and pressure systems. the transcendental waterfall mimics this liminality, acting as both a static space and an energized space captured and frozen in time, much like a photograph of a waterfall. the title ‘the transcendental waterfall’ is borrowed from a john fahey song of the same name. the transcendental waterfall was painted in berlin during the winter of 2010, in a studio without heat. i bicycled there each day over groovy ice and painted until i couldn’t feel my hands any longer, or about 45 minutes. the painting retains this icy energy, this charged yet static silence.
hip hope

hip hope

noos (it is not far), 122cm x 122cm oil on canvas, 2006

it is not far

noos (it is not far)
noos, 123cm x 123cm, oil on canvas, 2005

\logos (it is not far)
logos, 123cm x 123cm, oil on canvas, 2006

cosmos (it is not far)
cosmos, 123cm x 123cm, oil on canvas, 2009

the series it is not far depicts temporal time in its different incarnations. historic symbolic time is depicted in the first painting in the series, noos.

during a visit to the metropolitan museum of art in new york in the fall of 2005 i felt my first fundamental energetic connection to the fetish and devotional objects on display. this was due to the realization of their language. they spoke in symbols, often favoring animals and simple yet striking designs. around this time i found an $8 copy of shamanism by mircea eliade at a street sale, and synchronistically i happened to possess only $8. i belabored the decision, but purchased eliade’s masterwork. between toronto and montreal i read an account of a shaman, in which they endured an ecstatic trance ritual of fasting and imbibing some type of substance. the shaman awoke in a different world and was made to lie down by a smith. the smith gouged out the shamans eyes, placed them in the furnace, and returned them. he did this with his arms, legs, and various other appendages. when the shaman returned to the tribe he/she was fundamentally different. her/his body had been altered, forged on god’s anvil, and had returned now as a conduit between the spirit world and the tribe.

the flowers depicted are symbolic in both type and number. there are 4 poppies, positioned as the cardinal directions as explained to me by a towa man on an amtrak train whom i met by changing my point of disembarking. after painting i checked his information against the colors popularly accredited to the medicine wheel, and he was slightly off. however, i appreciated this accident as it relates to the happy entropy of oral history. there are 5 pansies, as 5 is the man number (we have 2 arms, 2 legs, and a head). there are 3 lotuses, which symbolize birth and rebirth, and 3 is echoed throughout the painting as the number of divine trinities. there are 3 anemones, which mean ‘of the wind’, and are also the dying god symbol as the painting represents different forms of knowing and the past. there is a single daisy, which symbolizes the innocence of totality, and a single calla lily, which represents me, the artist. calla lilies are now common to me in california, but when i delivered flowers to weddings in wisconsin they were very rare and expensive, and also bruised when touched. they possess a phallic grace, yet render very little scent. 4 horses are depicted, symbolizing the journey and the 4 horsemen of the apocalypse. there is a snake which ferries souls to and from the underworld, and 3 eagles, symbolizing the creator and divine trinities.

the tree in the middle is the world tree, a birch tree, and is upside down with its roots in the air. the river in the background is the delta of the ganges, one of india’s sacred rivers, and also symbolizes delta, or change.

the second painting in the triptych, logos, is a photo of a paused second generation ipod. unknown artist, unknown album were byproducts of cd-r’s and the beginning of free and wide distribution and memes. they also represent me as the painter of the painting. the duration of the song is 11:11 (there are 7 1’s in the painting) which symbolizes awareness. logos represents the intersection of the divine and language, or ‘the word’, and inherent truth. in this case it is depicted as an antiquated (even in 2006) technological artifact, as the present tense, though real, is necessarily ephemeral. the battery is half full, half empty, and the song is track 1 of 1, one life in one moment. ipods represent personal empowerment and the potential for divine self reflection as an igod.

cosmos, or an orderly and harmonious system, is the title of the third painting in it is not far. it attempts to depict the paradox of attempting to depict something that can’t and doesn’t yet exist. therefore i painted color field and interwoven energetic filaments. cosmos was painted over one and a half years in 3 different cities.

logos

logos

in 2005 i left new york city and over the course of a month made my way to the san francisco bay area where i subsequently resettled. i carried with me a gifted super 8 camera and shot stop motion film of my trip. during this transition i made a point of not taking any photos, relying instead on the cartridges of super 8 film stock that i had to trust were actually working, though there was no way to prove this until they were developed. i would click away in a rhythmic manner, click.. click…….click.. click…….. click.. click.. click.. i later had the footage digitized and subsequently synchronized it to the second side of lucky dragon’s fantastic album widows. i intended to show liminal paradoxical american spaces and symbols in a non-linear fashion through the inherent emotive nostalgia of bygone physical media, though this project began more as an experiment that congealed into this film than an intentional work of art. i show my life and my friend’s lives in the last moments of youth and the first moments of true adulthood. the title ‘logos’ references the intersection of the known and the unknown as essence.