Sunday, October 27

ANZI Design in Barcelona

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That's Giovanni and Tracy at ANZI Design Barcelona. A new home for 3 BUNNIES.  



Friday, September 20

4 Happy Bunnies


          
¨ 4 Happy Bunnies ¨


"4 Happy Bunnies ¨ and ¨ Forest Gnome w Cupid ¨

Sunday, September 8

Forest Gnome Cupid


FOREST GNOME CUPID. The gnome is the blue/fuchsia raster dot thing.   It's smiling 

2 versions



Titian


Based on a ''Mars Venus and Cupid'' by Titian

Color


Studio view of recent work summer/autumn of 2019.  Introducing color again.
















Love's Not Love?


Motherly love is the purest love. What nurtures and binds and makes one whole -- it ‘s Mummy.
Based on Vigeé Le Brun portraits 18th century French portrait painter of French aristocracy. 


Well, love is not love, or is it?  Maybe it’s both. Sometimes it leads to the real thing. And sometimes not. Boohoo.


 Cupid Archie and Betty. Dialog not included -- Betty: ''What do you like best about fucking outdoors, Archie?; Archie: ''The fact that you bring snacks, too''.

Get your man with a delicious plate of fresh homemade doughnuts. Love is a doughnut?


Queens are Kings.... probably.

"Once Upon A Time'' has to do with lost love.  Not pornography. Carnal love is one kind of love.  Love is love?

Mortadello

Mortadelo Spanish comic icon by Ibañez. As Spanish as Jamon Serrano or tortilla.


Thursday, June 6

Installation View Expo @ Cora Egger, 06/06/19, Barcelona




LOVE'S NOT LOVE.  Exhibition title for show at Atelier Cora Egger, June 6, 2019, Barcelona.
Deals loosely with the theme of love in some of its aspects: carnal love, lost love, promised love; and the related themes of gender, power and morbidity.














Friday, March 22

The Kiss




''The Kiss''. 
150 x 200  cm 59 x 79'' painted drawing on paper, spring/autumn, 2019.
                                  

Rip it Out Baby!

''Rip it Out Baby!'' Rastered forest gnome -- do you see it?  It's smiling. It has a knife in its left hand and bleeding heart in its right.
150 x 200 cm,  59'' x 79'' painted drawing on paper, 2019
Similar idea as the previous painting.  A smiling gnome holding a broken heart in his left hand and he's tearing out the guts and heart of the gnome -- see the string in his right-hand pulling the gnome's guts?



Gnome BBQ Deer

''Gnome BBQ Deer''
Gnome is BBQing a steak. The future meal is the deer.  We are all elves unconsciously consuming the world and leaving nothing in its place.
150 x 200 cm,  59'' x 79'' painted drawing on paper, 2019.

Beavers R Cute

''Beavers R Cute''
Well, Beavers are cute. And they are furry too.  What else can I say? I love beavers and they are Canada’s national symbol. They're on the Nickle coin. So, being a Canuck….
150 × 200 cm,  59'' × 79'' painted drawing on paper, 2018


Wood Gnome

This is the first rastered gnome I painted based on an animated Once pixel board ad here in Barcelona (Once is an association for the blind in Spain).  I was taken by the gnome which in the ad was really an elf, one of Santa's helpers, for a Xmas promotion to by lottery tickets.  I'd see the pixel board everyday on the Ferrocarril (commuter train). I had to paint it. It took me like 20 years to get it right. 
200 x 150 cm 79 x 59'' painted drawing on paper, 2019

Leaders Aren't Made, They are Created

''Leaders Aren't Made, They are Created''
Was thinking about the current -- won’t mention any names -- US President, ''the GREAT fearless leader''.  Here the beaver is given special powers, super powers, by the LGBT fairy. The GREAT fearless leader is created but it is still just a beaver on his beaver trunk pedestal.
150 × 200 cm, 59'' × 79'' painted drawing on paper, 2018





Monday, July 17

The Cottage


In 2016/17 did a whole series of small works on wood panels dealing with the idea of freedom.  Consists of a cottage and a bunny rabbit.  Here the bunny disappears and only the cottage remains.
40 × 60 cm mixed media. 

Friday, October 30

"Oh my Ears, my Whiskers" 4

Series of paintings of rabbit and cottage. I wanted a narrative using a bunny and a cottage. This series of works was a return to "narrative painting" for me and the seed of the work I am doing now.
40 × 60 cm, mixed media.  

Saturday, June 6

Monday, May 25

Monday, March 23

Monday, June 16

Going Abstract
















When I moved to NY in 1997, I decided to change my work. Since I had decided to change my life, the change in my painting seemed logical.  The move was quite radical and I started from zero in NY. I was quite well set-up in Barcelona and very comfortable there when I left.  NY was necessary to start fresh and leave the pop images behind and just concentrate on painting what I loved, which was abstraction. That work culminated in a show in Barcelona at Galeria Victor Saavedra in 2000, where I showed these and other works. Sometimes you do what you think you should do rather than doing what you feel you need to do.  Although I love abstraction, I couldn't get it right. I was always feeling like something was missing. And it was. It was the narrative, the irony, the imagery. 

Exterminating Angels





























































This is work from around 1995. I used to go to this junk store around the corner from my studio in the Raval, which was called the Barrio Chino back then, but now they (El Ayuntamiento, i.e. City Hall) have sanitized both name and hood after tearing-down the worst parts of the neighborhood and eliminating a lot of the marginal activities like prostitution, drug dealing and whatever else. That still goes on, but it is nothing like it was. Anyways, I'd go to this junk shop around the corner when I was stuck in the studio and I would find curious stuff, like old photos, figurines, etc. I found this cheesy cast figure of an angel with a movable head that I painted and these are the outcome. The painting with the male figure is Brains from the Thunderbirds, which was another series of paintings I did but fits with this theme.  
All these paintings are 170 × 230 cm.  I believe one of these paintings was shown at Galleria Tomas Carsten in Barcelona in 1995 -- the angel with the turquoise background. The three works  are in private collections in Barcelona.

Mortadelo and Filemon




































When I moved to Barcelona in 1988, the city was a very out-of-the-way-place. An alternative, unknown quantity, very authentic, and for me quite exotic in its authenticity. I came from Toronto, an anodyne and pale landscape, and no real painting going on. I felt like the good painting was going on elsewhere.
I knew instinctively even before coming to Barcelona that there was nothing going on as far as visual art. Well, there were things going on but they definitely weren't very interesting as far as painting, or seeing paintings, or finding good galleries was concerned. A lack of solidarity between artists and few collectors meant everyone starved or fought for the small slice of something that was there. That was fine for me. Sailor bars, junkies, and locals. Real stuff in your face. That was inspiring if not disturbing. I developed my work and isolated myself from my surroundings. One of the things that grabbed my eye was the comic book "Mortadelo and Filemon", quintessentially Spanish, and for me very interesting visually to look at. I wandered around my neighborhood, looking at stuff. It wasn't the comic parse that I liked, but the covers, which were well displayed in the kiosks on the Ramblas.  That was a continuous presence and something very native and pop. The more I looked at it the more I wanted to paint the frenetic warped surreal scenes and the bright, garish colors. I did end up painting Mortadelo and Filemon. Well, just Mortadelo -- 230 × 170 cm size in oil. 
At the time, 1988-94, there were some good painting shows passing through Barcelona. Bits and bobs at the Caixa Forum.  Really some great shows: Howard Hodgkin, Ed Ruscha the German painters like Keifer and Sigmar Polke and others.  The two paintings in the photo are installation shots from the show I did at the now defunct Carles Poy Gallery in 1993, in Barcelona.

Psyco-Bunnies

































Bunny portraits are installation shot from the expo at Carles Poy Gallery, Barcelona in 1993.
The two painting below are 230 × 175 cm of the cosmic bunny's series that I did afterwards. I showed the one with the bluish ground at Kiku Mistu Centro del Arte, Barcelona in 1996, and subsequently sold both of them privately. The cosmic bunnies were a culmination of the pop work I developed in Barcelona from 1988 to 97, before I left for NY.