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“Internationally Domestic”, Odds and Ends Series, No. 34

23 Oct

 

 

This mirrors No. 35, “Domestically International”. And while the story is still the same, these pieces hold a little bit of a heavier anchor for my memories. In my last post about the stamps, I really honed in on the eccentricities of the job rather than anything else, but what I failed to mention was about the stamp collecting process itself.

I can understand the obsession with collectibility. I am a collector of odd things, and as I’m sitting here in my room full of moving boxes in my Los Feliz apartment in Los Angeles, I am acutely aware of my obsession to collect things.. primarily for my artwork. I have boxes and boxes of transit cards, hotel key cards, metal keys, stamps, bottles… .. all ready for this… invisible project that hasn’t ever.. really reared its head in my direction.

For the stamps, it wasn’t about just about items for collages. I loved these stamps because they were from places that I had never been to. Being that my imagination is, at best, overwhelming, … cutting these stamps made me feel like I wasn’t so stuck in my own life. When I cut a stamp from Poland, I’d look at the writing on the envelope, and imagine what the scenario was when the person wrote on the envelope.. Questions would go flooding into my mind… What was the kitchen like? Was it foggy outside? What did the house or apartment look like? Their street? The street signs? All these visual questions would erupt from my head ..

I’ve had that mentality as a kid, especially since growing up in a place where I felt I didn’t belong, and itched to leave. I’d escape to many places, and research endlessly on islands and countries that were far from my own home. I suppose I still have it, as when I created this Mickey, my head went straight back to that pathway of all the different countries that I wanted to visit.

“The Definition of Character”, Odds and Ends Series, No. 19

10 Apr

This piece is a part of the “Battle of the Senses” Series. This piece, like most pieces, started out as an accident. I just sat over this and mulled around it for a few minutes within my studio. Desperately trying to find something to draw about I just watched whatever program was on and doodled around the face of Mickey. In the eyes I wrote eye… and then slightly lackadaisically wrote the word tongue in the tongue. I paused over the piece with my pencil and just haloed over it for a second while my brain started clicking and whirring. I felt my eyes close in like the F stop shutter in a camera zeroing inwards into a miniscule pinpoint. The next thing I knew, hours had gone by, it was 4 in the morning, and I was halfway done with the piece.

Even in being the so called ‘wild card’ in the licensing world, I’ve for the most part kept my commercial work VERY separate from my non commercial work. The first ever merge between the two was the experimental pieces on this collection throughout the pop series and transition into the stream of consciousness series. This marriage between the two in this piece shows the controlled chaos in more of a literal sense here. Every thing is labeled as it should be. The eyes are labeled eyes, the ears are labeled left ear and right ear, the crown is the crown and so forth and so on. … The background is the same, the pieces are in shards, and each drawing is an object that represents the color. Not only are they objects, but the words are encased in the shape of the object for ultra-representation.

This is the ultimate of being.

This is the definition of character.

(Side Note: For those questioning the robot in the piece that does not match in the color coding shards. That is an homage to Leonard Porkchop Zimmerman, a brilliant artist whose work has had influence in my recent pieces)