“Popeye”. Free line, open forms, specific imagery, in this case Popeye. Only his legs and shoes are noticeable. Figuration / non-figuration, an endless dilemma. March 2021.
Friday, July 7
Thursday, June 22
"Forest Gnome with Cupid". The gnome is the blue/fuchsia raster dot figure that's smiling.
These are the most successful of all the gnome paintings I've done. What comprises a landscape painting: a house, a horizon, sky, clouds, and stuff in the foreground like trees or a stream and the subject stuck in the middle. It has a cupid in one hand and a heart in the other.
Tuesday, April 11
When I came up with “Love's not Love”, I became aware of the Love is Love slogan. Synchronicity? Coincidence?
‘‘Love's not Love’’ and ‘‘Love's Love”.
Wally Wood L'll Abner porn comic there is something iconic about these images. That claim sounds laughable because it probably is.
Collaborative painting show with Pere Llobera. We decided to work the same format, 2 x 1.5 meter paper works on a similar theme. That was in 2020, at Galería Esther Montoriol in Barcelona.
Thursday, April 6
‘‘4 Happy Bunnies”. The flames coming out of their butts isn't about eating beans. Or farting. They are jetting through the sky. They control cosmic energy. They are really free. Frolicking up and away.
“3 Happy Bunnies”
Hanging our show. Pere Llobera and Syd Mostow, at Galería Esther Montoriol. 2020
Was thinking about the US President, the plague who should never have been elected. The beaver is given special powers—superpowers, by the fairy. Trump is a beaver, a creation. Just a fucking beaver on a tree trunk. That's how I saw the grifter president.
200 x 150 cm, 79’’ x 59”, painted drawing (is that even possible?) on Fabriano paper, 2018.
“Love's not Love”. Galería Ester Montoriol, 2020. JUJA. Mickey Mouse. Ooof !! -- what a hackneyed theme. I am sure Mickey doing it with Pluto has crossed a lot of minds. It crossed mine. Love possess. Cupid has stung them both.
Sunday, June 15
2 very different paintings by the same artist Rory MacBeth. Although they deal with the same issue of authenticity and originality.
This image is of one of his amazing paintings. And it is a painting, not a piece of sterling board, although you wouldn't know it. A real challenge to our notion of reality as it is perceived, and to our expectations of how things really are and not how they just appear to be.
Rory Macbeth was once a Street Painter. We met in Barcelona in 1988. A phenomenal painter, and phenomenally talented. Now he shows all over the place aside from having been one of the organizers of Pilot, in London, an archive and showcase of unrepresented artists.
This is the first poster in a series of 3 street posters, A2 size, that I did and were pasted-up in the autumn of '95 in Barcelona. It depicts a woman in leathers (S+M) painting a fellatio. It says: “Being an Artist is Easy… Intensive 3-week courses….Pastiching…all graduates will show in the most prestigious galleries… collectors to buy your work…learn to paint like Tapies, Picasso….Salon Autónimo de Barcelona, Riereta 10" (which was the actual address of my studio) and there were people actually coming by inquiring about taking classes. Which astounded me. I did these posters as I was quite fed-up with Barcelona art scene. I moved two years later to New York.
This is the 2nd street poster A2 size (40 x 58 cm) 16 x 2’’ that went up on the streets in Barcelona in the autumn of '95. It says “You are a Wanker, and you're not alone either --¡Yes Yes!.....Salon Autónimo of Barcelona”. Depicting Dopey (of the 7 Dwarfs) jerking off onto what looks like a Tapiés painting.
3rd installment which never got printed. It depicts the folkloric “caganet”, the crapping man, the traditional crèche figure which Catalans like to adorn their Christmas Nativity Scenes with. So I made him crapping out a painting instead of, well, crap. Fecundity is creation. It says, “I don't paint my paintings anymore. I crap them out—that way I can produce more art and produce it faster—Barcelona, Autonomous Salon "
At that time, the media, and government institutions were referring to “artists” as young creators. This was a way to deflect the “art” debate by changing its name in an attempt to create an art scene. There was a huge concern in general that local artists weren't getting any attention. Neither by collectors in Barcelona, museums, or internationally. But no one seemed to ask if they, the artists, whoever they were, that nefarious group of creators, deserved any attention at all, which they probably didn't. Whining artists that no one cared about anyway. The other side of the coin was this: if the people who were worried about artist activity had any idea of what they were talking about, which they didn't, then maybe they'd realize that what creates an art scene is first taste, then money, but not talk. But in the end, Barcelona was put on the map because of the Olympics in 1992. Now it is overrun by tourists.