“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.
I found this unusual Popeye image at a market in Morocco. I think it's the cover of a ruled notebook for kids, probably from the 60s or 70s. Morocco is full of surprises.
This is the first rastered gnome I did, based on an animated ONCE pixel board ad (ONCE is a Spanish foundation for the blind). The original image was taken from a pixel board animation for Xmas lottery tickets. It was a simple animation of Santa's elves running along. I loved seeing the animation every day in the tunnel leading to the Ferrocarriles (Catalan commuter train).
200 × 150 cm, 79 × 59’’ mixed media on Fabriano paper, 2019.
“Love's Not Love” at Atelier Cora Egger, June 6, 2019, Barcelona.
The theme of the show 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, morbidity, sexism, and what is or isn't pornographic. This was the first time I had shown my work in a solo show in a long time. The work was new, and the timing of the show couldn't have been better. Thanks, Cora!
This was one of the first raster gnomes I painted. They are all the same theme and subject. A landscape, central gnome in the foreground. A knife in one hand, a bleeding heart in the other.
I was invited to a small group show at Cora's space a few months earlier and then she offered me the space to do a solo show, documented above. Lots of artists and friends that I hadn't seen for a long time came out to the opening. That felt good.
200 × 150 cm, 79 × 59’’ painted drawing on Fabriano paper, 2018.
Saturday, April 1
Paintings from around 1995. I used to go to a junk store around the corner from my studio in the Raval, which was called the Barrio Chino back then. City Hall (El Ayuntamiento) had tried to sanitize both name and hood after tearing-down the worst parts of the neighborhood and partially eliminating a lot of the marginal activities like prostitution and drug dealing. That still goes on, but it is nothing like it was. Anyway, I'd go to a junk shop around the corner when I was stuck in the studio and I would find stuff, like old photos and figurines. I found this cheesy kitsch cast figure of an angel with a movable head. These are the result. Exterminating Angels. The painting with the male figure is Brains from the Thunderbirds, which fits with this theme.
All these paintings are 230 x170 cm. I believe one of these paintings was shown at Galería Thomas Carsten in Barcelona in 1995—the angel with the turquoise background.
Monday, June 16
I moved to NY in 1997, and 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. New life in NY, it seemed necessary to start fresh and leave the pop images behind and just concentrate on painting what I loved, which was abstraction. While I was still working in oil paint, that work culminated in a show in Barcelona at Galería 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.
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.