. . . shot from the back row of the Dundee Theatre in the early hours of an enjoyable morning in October, 2007.
he personal work part of my site has been updated with some recent additions, including, but not limited to, this card. Also, I realized I left a couple people whose work I’ve recently been fascinated with off my last post. A few weeks ago I visited the and saw an exhibit of Titus Kaphar work. He replicates, nearly perfectly, historical paintings and then defaces his own work by cutting out elements, painting over people, shredding parts or dipping the whole thing in tar — all with provocative racial overtones.
Another recent favorite is Christiana Couceiro, who uses vintage images and color schemes with modern typography to make crisp, simple illustrations.
And, lastly, while I was at the de Young last week, the piece that grabbed my attention most (aside from the Warhols) was Al Farrow’s “The Spine and Tooth of Santo Guerro,” an incredibly intricate sculpture of a cathedral built entirely out of pieces of small arms and ammunition. His site has plenty of images of other similar sculptures.
‘ll be the first to admit this blog has a bit of an identity crisis. I meant for it to be mostly a place to update my portfolio and show what I’m working on at home — like the apology card above — and in the office. And in the past few weeks, I’ve made a few odds and ends worth uploading that I’ll post in the coming days. Mostly they’re in the form of collaged cards and simple sketches.
But, as I said, I tend to meander a little. So I figured I’d also give credit to what I’m inspired by, to the people who do similar work as me, only far better.
Last week Very Short List featured the work of photographer and artist Thomas Allen, who takes an X-Acto blade and macro lens to old pulp fiction covers and creates engaging, three-dimensional collages. It reminds me a lot of the work of Brian Dettmer, who cuts away at out-of-print reference books to expose illustrations within and makes complex sculptures out of them. His work blows my mind.
And, lastly, I have to point out Silhouette Masterpiece Theater; a blog hosting the work of Wilhelm Staehle. It’s fun to look at, and it’s fun to read, too. And it reminds me a lot of the of work of Serrie Levine, whom a New Yorker abstract a few weeks ago focused on in part.
ike I mentioned, I spent a long weekend visiting the Bruntzes and running around the Bay Area. Among the highlights: visits to a couple Amoebas, City Lights Books, Vesuvio Cafe, an Irish bar with an Indian restaurant in the middle of it, a Warhol exhibit at the de Young, attending the above-pictured bonfire on Ocean Beach, seeing the A’s play the Blue Jays (and getting a sweet Justin Duchscherer bobblehead), riding in creepy carpool and a developing addiction to Shaun White Snowboarding on Wii. Not a bad way to spend a furcation.
his, of course, is a couple days late. But I was in San Francisco over the weekend visiting Michael and Courtney, so this was the first chance I had to show off what I made in seventh period craft class for Mother’s Day. Though, I have to give credit where it’s due. Generally my collages are complex and unique enough that there’s no need to individually identify the artist behind each element, but this one is so strongly based on a New Yorker illustration by Michael Roberts, it’d be unfair not to point it out. So, a belated happy M’s day to the best one out there: mine.