Statement

This current series of paintings derives experientially from my day-to-day pay-the-bills architectural conservation work, where I spend ample time on multiple union construction sites. The bathrooms on these sites are crudely built and maintained temporary shanty-like constructions rigged with rudimentary plumbing and electricity. It is in these bathrooms that I covertly document the drawings, writings, and dialogues that adorn the walls. I shoot photos of these images using my low-tech, dinosaur of a flip cell phone. This not only captures the crude visual aesthetic, but also serves, aesthetically, to convey the true context of the appurtenant communications as written.

The men who leave these hieroglyphs are (ordinary) working class patriotic Americans, albeit New Yorkers. They earn good wages, complete with health and retirement benefits, for the most part have wives and children, own homes, and are often politically active. Yet given a moment of privacy, absent their peers and the accompanying need to impress their bravado upon, within these rank stalls, they are the authors/illustrators of these racist, sexist, homophobic, and xenophobic ideological regurgitation’s. While the resultant aesthetic, and verbiage, may be unique to this strata of society and these specific men, the messages and mentality are not. They are an ubiquitous reflection and product of our culture, no different than the politician whom fans the flames of divisiveness with their speeches of spite based on these same stereotypes and falsehoods, or the conservative religious leaders whom justify tragedies such as 9-11 as God’s punishment for our tolerance of mere diversity.

I paint these paintings as faithfully as possible, not editing the messages, and reproducing the various hand writings and scrawls in as exact a manner as I am capable of. It is important that it is known that these words and depictions are not mine, I am merely a conduit through which these all too human attitudes are exposed.

1st WAS Biennial

Was

First ever WAS Biennial juried international exhibition in which artists show their works in either their studios or live spaces.

Cloud Conversation 4: Breach a part of the 1st Worldwide Apartment and Studio Biennale. There will be an Artist talk between myself and Turkish performance artist Gözde Kirksekiz , moderated by artist/curator Anne Murray creator of Cloud Conversations, on November 6th.

Reception: 28 Oct. 2016. 6:00pm – 9:00pm
Duration: 21 Oct. 2016 – 20 Nov. 2016
Artist talk: 6 Nov. 2016, noon (NYC time)

Opening hours:

  • Thu, Fri 6:00pm – 9:00pm
  • Sat 12:00 – 5:00pm

Address:

6 Bay Street, Brooklyn NY 11231, USA
Call for entrance to studio 347 844 0200

Intro

This current series of paintings derives experientially from my day-to-day pay-the-bills architectural conservation work, where I spend ample time on multiple construction sites. It is in these bathrooms that I covertly document the drawings, writings, and dialogues that adorn the walls. I paint these paintings as faithfully as possible, not editing the messages, and reproducing the various hand writings and scrawls in as exact a manner as I am capable of. It is important that it is known that these words and depictions are not mine, I am merely a conduit through which these all too human attitudes are exposed. Read artist statment

Battery Park 3 #14

Battery Park 3 #14


oil on panel, 7 13/16″ x 5 7/8″

270 Park Ave p3 #1

01_270parkavep3


oil on panel, 4 9/16″ x 5 7/8″

Equinox #5

02_goldmansachs


oil on panel, 5 7/8″ x 7 13/16″

450 W17th street

10_450W17th_775


oil on panel, 4 9/16″ x 5 7/8″

Goldman Sachs #7

05_270parkavep3


oil on panel, 5 7/8″ x 7 13/16″

Goldman Sachs #2

02_goldmansachs


oil on panel, 6 11/16″ x 5 7/8″

270 Park Ave p3 #6

Battery Park 3 #14


oil on panel, 5 7/8″ x 7 13/16″

270 Park Ave #3

05_270parkavep3


oil on panel, 5 7/8″ x 7 13/16″

Goldman Sachs #5

07_goldmansachs


oil on panel, 5 7/8″ x 7 13/16″

Equinox

03_Equinox_775


oil on panel, 5 7/8″ x 7 13/16″