“Neon City Frequency”, Metropolitan Series, No. 79

25 Oct

Neon City Frequency

In January of 2014 I moved to Las Vegas from Los Angeles to begin my artist residency at “The Container Park”. It was off of Fremont St, a previously abandoned portion of the old strip that was being revitalized by “The Downtown Project”. My gallery was in a cozy metal shipping container that nestled into a sea of other shipping containers filled with artists, designers, restaurants, and various shops. Despite my hard working business partner and the traffic of patrons that perused through the area, which left me with a lot of inspiring connections and conversations, I was for the most part, very alone.

I lived in Henderson by myself in a two bedroom studio. One bedroom was where I worked, and the other was where I slept. In the daytime I would drive out to downtown from the 215 to the 15, and pass Las Vegas Blvd to the historic strip, and work in the shipping container. As the sun would set, I would hang outside the gallery and laugh with the next door glass artists Mya and Elisha, and gab with the street artist MISCR8 and talk about where our future in art was going. At night when the gallery closed, I’d walk out of the park while a drum circle would blare in its exotic beats, and a massive metal sculpture of a praying mantis on a tank would shoot balls of flames from its antennas into the night air. I’d drive home, often the way I came, only to paint more in the studio until I would fall asleep at my desk and wake up starting the same story the next day.

This was everyday.

Las Vegas was one of the most entertaining, and yet heartbreaking cities I had ever lived in. In the daytime, the city was obscured by mass waves of light colored buildings that swallowed the entire city grid in a misty blur. What happily existed was the massive beautiful mountains and thick clouds that painted itself in such a majestic way. In the day, the natural landscapes were the saving grace of Las Vegas. When the sun would set, the city began to groggily wake up with its drowsy sparkles of neon lights, and by complete nightfall the city was a massive beacon of metropolitan lights… I’d often, in the middle of the night, get in my car and drive on St. Rose Parkway to look at the neon grid.. I’d spend hours beyond the parkway on a random hill with a bottle of sparkling water and watch the city burst into a radiant flame by myself.

The strip itself, while incredibly welcoming to those visiting the city, felt completely out of reach to me as a resident. It was a city built on tourism, and those that lived there catered happily to them. In the strip, controlled chaos and bliss existed for those visiting it, yet those that lived there, it was a different story. The slogan “Whatever Happens in Vegas, Stays in Vegas” was such a powerful word for those living there, because we in fact, stayed in Vegas with those experiences.

After 8 months I had only created one Mickey. The work I was creating was mostly for a series called “Mojave Metropolis” for the artist residency. I spent a lot of time working in merchandising and the business aspect of licensing, which left little time for me to really concentrate on the project. In September, the artist residency was over, and I was on to my next adventure out in Chicago. I woke up at 3am, and drove all my things out of the city. In the darkness, I drove through Las Vegas Blvd to say my last goodbye. I watched mass waves of people still partying, laughing, and happily screaming.  I watched the hotel workers stoically work through their crowd as if it was any other day. I saw showgirls glittering in the night, dancers dancing, and fire performers blowing balls of flame into the night air. I drove past the copied versions of New York and Paris, out into the wedding chapel area, and into the light bulb sparkling district of old Las Vegas, which flashed of such a vibrant history of a place that hasn’t existed anywhere else in the world. Finally, I drove through the broken lonely and abandoned streets of a Vegas forgotten… with gutted out hotels that once held such a beautiful and exotic American entertainment culture. I hit the highway North to Utah, and watched the neon lights slowly fade into the distance.

The slogan, for those that visit it, may hold true, whatever happens there, stays there.. .but for those who lived there.. actually experienced and worked in the city.. once you leave there.. the memories, the people you loved, the people that helped you, the people that broke you, the loneliness, the heartache, the beauty of such vast expansions of the metropolis in the Mojave… they don’t stay in Vegas.

They stay with you.

This painting, while in the Metropolitan series, is the first piece that talks more about the emotional landscape than the actual physical geography of the city. The references of locations like Seven Hills (a sector of Henderson), South Eastern Ave, Ann Road, Lake Mead, Green Valley, Tropicana, Sahara, and more, exist in the background of this piece. References also exist to Las Vegas like Mojave sun, miles of sand, monsoon season, pyramid luz, clouds, and dust yards. Finally there are personal references and timestamps such as ‘this is not a test’, HWY home, work work, 110F, solitude, and vision that exist here as well. Finally, I chose these all together to create silhouettes of buildings that swarm in color around the outskirts of Mickey, that when cross into his face become an obscure and textless form. This represents that Vegas is much more than just the strip, but it is the residents, the outskirts, the mountains, the hope, and experiences that make this place its embodiment.



“Mikki No Sekai”, Around the World Series, No. 78

24 Oct

Mikki No Sekai


Japan has always been such an intriguing country to me in so many ways. From their cultural practices, art aesthetic, entertainment, language, and history, Japan wrapped up into one painting became incredibly difficult for me to paint. I would say it was difficult not only for the complexity of it’s vast cultural circuitry, but also I had not seen it with my own eyes. Regardless, this piece is called “Mikki No Sekai” which stands for “World of Mickey”, and I’ve focused a high saturation geometric pattern concept inside his face, that bursts out from either end in a display of colorful linear webs. On either side of his face is both a television that references a portion of their entertainment culture, and a Mickey Mouse hat that represents the park in Tokyo. On every corner lies a sea of cherry blossoms (Sakura), which contain the city of Tokyo underneath, and Mt. Fuji above his face.

This was one of the only pieces of the TENxTENxTEN collection that was painted in my artist residency which was in a shipping container out in Las Vegas, NV. “Mikki No Sekai” is a part of the “Around the World” chapter, and resides as number 88 in the collection.

“Neverland”, Sketchwave Series, No. 77

23 Oct



The one thing that I loved about Disney, was their continual emphasis on an escape from the normalcy of the real world. In my own childhood, nothing technically was normal, but I did have that desperate desire to escape the reality of my life.  Peter Pan, much like Alice in Wonderland, was a movie in where people got to experience the magic that didn’t exist in the real world, and I so desperately wanted to believe that could happen to me. I was transfixed by this story, and often would wait out my own window as a child in hopes that someone would rescue me to magical land filled with danger, adventure, and friendship.

This piece, which is simply titled “Neverland”, is a part of the sketchwave series in the TENxTENxTEN collection. It, much like Cinderella’s “Blue Reverie” is a piece that embodies the entire story and movie. Here you will find Peter, Michael, Wendy, John, and Tinkerbell floating around symbols, quotes, and words that are specific to the film. In the silhouette you will find references to Captain Hook, Tick-Tock, Smee, and The Jolly Roger. The major reference point words in this piece, are “Believe”, “Dreams”, and “Imagination”, three things that were essential anchor terms for this movie and my wishful nature of my childhood.

“Blue Reverie”, Sketchwave Series, No. 76

26 Mar

Blue Reverie

Following on the coat tails of a sketch wave series of Snow White’s “Happily Ever Neon” (which was created out in my studio in San Francisco at the time), I resumed the series with a piece on Cinderella. This was created about 10 months later, and was worked on simultaneously in Los Angeles, and in my temporary art space at the Ogden in downtown Las Vegas.

Much like like the previous sketchwave piece, this piece, entitled “Blue Reverie” compactly focuses on the entire story of Cinderella into a 14 x 14 piece. “Blue Reverie” was painted with a light blue to reflect Cinderella’s dress (which technically was white, but commonly painted as blue as her dress turned blue from the hue of the moonlight). You will find Lady Tremaine, Anastacia, Drizella, Lucifer, The Fairy Godmother, and Cinderella herself floating around the background of Mickey’s silhouette. Characteristics of the movie like ’12 O’Clock” at Mickey’s crown, as well as the slipper and the outline of the missing slipper (with the comical exclamation of “Missing Shoe! Oh No!”) are just one of the many pinpoints of the movie which whimsically reside in the architecture of Mickey himself. You will also find quotes and icons that revolve around Cinderella and her story inside, around, and outside of Mickey Mouse. In fact, much like “Happily Ever Neon”, I sought to create a piece that didn’t just focus on one ‘easter egg’ hidden concept, but that the piece was entirely made up of a basket of ‘easter eggs’ around the movie. I wanted this piece to provide the viewer a mass of imagery, so that every time they reviewed the piece, they would see something completely different.

I loved the movie Cinderella in concept as the protagonist was possibly the most human of all princesses, and therefore the most relatable. I say this dually about the villain as well. I was ABSOLUTELY terrified of Lady Tremaine because her villainous nature required no magic to offset my reality. This piece resides as No. 86 in the collection, and is being transferred from the “Disney History” series into the modified “Sketchwave Series”.

“Mile High City”, Metropolitan Series, No. 75

25 Mar

Mile High City

I first fell in love with Denver back in the year 2000, when I was traveling from Chicago to Santa Cruz for the summer in a gold sparkling pickup truck I nicknamed “Liberace”. This was my first experience road tripping across America, and I was starry eyed and in consistent wonderment the entire time. For more than 20 years I really hadn’t experienced any kind of travel, and I saw Denver as this magical paradise thousands of feet up above sea level.

13 years later, in thinking back to that wonderful place, I decided to make Denver a part of the Metropolitan Series, and flew out there from my home in Los Angeles to draw a map of it around Mickey’s face. I had stayed with a friend from high school in Marietta Georgia, who gave me the low down on the entire city, and I spent 5 days walking and taking the train across the city to get a feel for Denver’s surroundings and inhabitants.

Out of all the cities I have visited, Denver’s aesthetic was the most unique. Most of the time I can pinpoint similarities in architecture influenced by geography and history in the US, but Denver was built on an entirely different platform. It wasn’t Southern, Midwestern, or Pacific. Denver.. .. was.. Denver… a mix of classic architecture infused with natural elements that reflected the mountains, forest, and rivers.

I was overwhelmed by the hospitality of Denver’s residents, who often reminded me of the easy going Northern Californians of Sebastapol and Southern Oregonians. The friends I stayed with wore costumes and rode bicycles through the town with thousands of other residents who did the same. The stress of traffic strained madness from Los Angeles somehow magically washed away, and I found myself whimsically walking down the street playing music in my ears and feeling that Denver was the cure from all the pressure and heartache over the years.

It was a dangerous feeling too, because I knew if I spent any time longer in Denver, that I would be packing up and leaving ASAP to become one of its residents.

Even now, when times get tough in whatever city I’m in, I think back to that week where I laid out in the park watching the sun set during a jazz festival with friends. When I’m sad I think about walking around aimlessly with no direction whatsoever and taking the RTD to 16th street. When I am uninspired, I think about the Denver Art Museum, which was one of the most INCREDIBLE museums I have been to on the planet… and getting lost in the random rooms of beautiful work that I have waited my whole life to see (IE: Sandy Skoglund “Fox Games”, Nick Cave “Sound Suits”)

In this piece, entitled “Mile High City” (in reference that Denver is actually a mile above sea level), goes over the attractions and districts of Denver. In the ears it says “Silver Boom” which goes over the Silver Rush that made Denver a prominent figure on the US map, and MTN life, which is about the culture of the city.

Here are the following attractions going clockwise from the lower left side.

1. Denver Art Museum
2. Little Man Ice Cream
3. Blue Bear Sculpture (Convention Center Sculpture)
4. National Western Stock Show
5. Tattered Cover Book Store
6. Mountain Views
7. Larimer Square
8. Colorado State Flag
9. Confluence Park
10. Wings Over the Rockies Air and Space Museum
11. South Platte River
12. Botanic Gardens
13. Lakeside Amusement Park
14. “The Aliens” Sculpture
15. Union Station (Train Station)
16. RTD (Transit System)
17. 16th Street Mall.

Inside Mickey’s face are the following 68 districts:

1. Country Club
2. North Capulo
3. East Colfax
4. Speer
5. Belcaro
6. Cole
7. North East Park Hill
8. Washington Virginia Vale
9. Montbello
10. Hale
11. University Hills
12. Wellshire
13. Rosedale
14. Gateway
15. Green Valley Ranch
16. Montclair
17. Indian Creek
18. Virginia Village
19. Five Points
20. Cory Merrill
21. Lowry
22. Hilltop
23. City Park West
24. Union Station
25. Civic Center
26. Baker
27. Curtis Park
28. Chaffee Park
29. Skyland
30. Cherry Creek
31. Regis
32. South Park Hill
33. Sloan Lake
34. Cheeseman Park
35. Stapleton
36. Elyria Swansea
37. Platte
38. Clayton
39. Auraria Park
40. Hampden
41. Washington Park
42. Ruby Hill
43. Globeville
44. Sun Valley
45. Barnum
46. Whittier
47. Berkeley
48. West Highland
49. College View
50. University Park
51. Highland
52. Capitol Hill
53. Lincoln Park
54. Congress Park
55. South Platte
56. Kennedy
57. University
58. Sunnyside
59. Goldsmith
60. South Moore Park
61. Marlee
62. West Colfax
63. Bear Valley
64. Villa Park
65. Fort Logan
66. Marston
67. Harvey Park
68. Athmar Park

This is the 85th in the TENxTENxTEN Collection, and the 5th in the Metropolitan Series.

“Mary’s Magical Metropolis”, Contemporary Modern Series, No. 74

4 Feb

Mary's Magical Metropolis

It’s interesting to find, when I’ve taken a retrospective tour of what visually guided me as a child, that I would end up here in the present, working for the very same entity that contained those influences.

I never thought that the repetitive process of watching Alice in Wonderland and my fascination with its background art work at 8 years old would somehow impact me in my work later on.

But really, when we look at the cognitive process of artists from their childhood, how could it not?

When I look at all the similarities to what I was attracted to visually with Disney as a child, I came up with this astounding commonality, that all the work was done by Mary Blair. From Saludos Amigos, to The Little House, Cinderella, Alice, and beyond.. these were all my favorites.

This would also explain why I would consistently board and reboard the Small World ride as a child. I have to give major credit to my parental units for dealing with that song OVER AND OVER again as I just sat there comatose, giggling, and drooling over all the shapes that passed through my eyes in that boat ride through the kaleidescoped wilderness of Mary Blair’s genius. .. only to have me scream “AGAIN!! AGAIN!!” when the ride ended.

As a young adult, pre-Disney, and struggling to understand myself, I found myself gravitating back to my childhood to figure out what were my major influences. In researching Mary Blair again, I found myself exhilarated by her story of being a prominent female in a world full of male animators and commercial artists. I found myself enthralled by her use of geometric architecture, and (while I couldn’t necessarily see it) the public’s response to her unique use of color. And sadly, I found myself heartbroken from all the years of pressure against her and her death in 1978.

This piece is called “Mary’s Magical Metropolis”, which reflects the whimsical architecture and color usage behind Mary Blair’s work. This runs as No. 84 in the TENxTENxTEN series.

“A Brush With History”, Battle of the Senses Series, No. 73

27 Mar

560O0119B A Brush with History 14x14

I’m a collector.

Some people might call me partial hoarder now that I think about it.

I’m very specific about the things that I collect, and most of it has to do with art projects. I’d say the problem lies in the fact that these projects that I have yet to do … have been incomplete for the past 20 years.

Example: I’ve collected every bottle of medication that’s ever been prescribed to me since I was a teenager. I’ve been collecting them for 2 decades in the idea that I was going to create a giant Lucille Ball made out of these items.

Has it happened?

Absolutely not.

Will it happen?

Well, I hope so.

I go back to the idea that I would have never become a painter, if it wasn’t for the fact that I carried a pack of 7 canvases across the US in the various places I lived until my fateful beginning as an artist in San Francisco.

I’ll never forget the time that I acquired them. I was an associate at Pearl Art & Supply in the Northern sector of Atlanta, GA when we received a bad batch of canvases. They had acquired, in-between holding and shipment, a bit of mold damage from the warehouse in Ft. Lauderdale. I dived in the dumpster for them rather than let them go to waste.. .. and then spent 6 years trucking them around various apartments in Atlanta, Raleigh, Philadelphia, and San Francisco.

I’ll also never forget the time that I put them to use. Six years later, it was that one fateful day after an art show off of Belcher Street where I got the idea of painting a drag queen named Putanesca. I took the bus to the Chinatown tunnel, and walked up the flight of stairs to my apartment at 625 Bush Street. I grabbed the canvases out from underneath my bed that I used as storage and said

“See! I use things”

This piece is also about that process of collecting. This piece is an amalgam of brushes that I used for EVERY TENxTENxTEN portrait created. These are beyond objects to me as they carry time stamps for every moment created, and its a blessing and a curse that I remember all this information. These were used in the following apartments:

1. 7027 Lanewood Ave (Hollywood)
2. 1929 N. Vermont Ave (Los Feliz, Los Angeles)
3. 642 Natoma Street (San Francisco)
4. 1630 N. Edgemont Street (Los Feliz ADJ, Los Angeles)
5. 150 N. Las Vegas Blvd (Arts District, Las Vegas)

Beyond that, they were used during the following times:

1. Le Marais, Paris
2. Cafe 101, Hollywood, CA
3. Brite Spot Diner, Echo Park Los Angeles, CA
4. Disney Consumer Product Campus, Glendale, CA
5. Ambrose and Hillhurst, Los Feliz, Los Angeles, CA
6. Hollywood Blvd and New Hampshire, Los Feliz, Los Angeles, CA
7. Plummer Park, West Hollywood, CA
8. Fairfax and Melrose, Los Angeles, CA
9. Wilshire Blvd and S. Stanley, Los Angeles, CA


10. LA – NYC Flight
11. Cafe Viand, Upper West Side, NYC
12. Cafe Yaffa, East Village, NYC
13. CPW and 79th, Upper West Side, NYC
14. NYC – LA Flight
15. Hotel, Schaumberg, IL
16. Hotel, Woodland Hills, IL
17. Speakeasy Apartment, Chicago, IL
18. LA – LV Flight
19. Circus Circus, Las Vegas, NV
20. LV – LA Flight
21. LA – ATL Flight
22. Piedmont Apartment, Atlanta, GA
23. Midtown, Atlanta, GA
24. ATL – LA Flight


25. Sparky’s Diner, San Francisco, CA
26. Diamond and 18th, San Francisco, CA
27. Grocery Store, 8th and Natoma, San Francisco, CA
28. SF – SEA Flight
29. Capitol Hill Apartment, Seattle, WA
30. SEA – SF Flight
31. Park Bench, Barnsdall Art Park, Los Angeles, CA
32. LA to SAC flight
33. Embassy Suites, Oldtown Sacramento
34. K and Front Street, Sacramento
35. SAC to LA flight
36. Marriott Hotel, Anaheim, CA
37. D23 Convention Center, Anaheim, CA
38. LA to DC Flight
39. Adams Morgan, Washington DC
40. Apartment, Washington DC
41. Megabus DC – PHILA
42. Fishtown, Philadelphia, PA
43. Museum District, Philadelphia, PA
44. Dunkin Donuts, Central Philadelphia, PA
45. NJ Transit Train, Phila – NYC,
46. Miss Vee’s Apartment, Brooklyn, NY
47. Cafe Yaffa, East Village, NY (again)
48. NYC – LA Flight
49. LA – Chicago – Berlin Flight
50. Apartment, Yorckstraße and Mehringdamm, Kreuzberg, Berlin
51. Einstein Kaffe, Obentrautstraße, Kreuzberg, Berlin
52. Apartment, Prenzlauerberg, Berlin
53. East London Restaurant, Mehringdamm, Kreuzberg, Berlin
54. Berlin – Paris Flight
55. Simplon Apartment, Arrondissement 18, Paris
56. Montmarte, Paris
57. Centre De Pompidou, Paris
58. Paris – Berlin Flight
59. Schonenberg, Berlin
60. Turkish Den, Neukolln, Berlin
61. Berlin – LA Flight
62. 707 Fremont Street, Las Vegas, NV
63. Abigail’s Porch, Los Feliz, Los Angeles, CA
64. Matt’s DTLA loft, Los Angeles, CA

In finishing this piece, I think back to that original statement I had made in that apartment in Hollywood California in 2011. I said, in doing the TENxTENxTEN project, I was going to reveal Mickey Mouse in as many ways as possible, and in doing so I would find the artist underneath. When I look at this piece, I see all the places I have been.. all the places I have painted, and all the people I have met along the way. I see the people I have loved, and the people I have lost. I see the world unfolded and then unfurled before my very eyes .I am so happy to be a part of this project, and this piece is a testament to that pride.

This is called “A Brush With History”. It is the 4th in the “Odds and Ends” Series, and No. 83 in the collection.

“Out To Lunch”, The Human Condition Series, No. 72

25 Mar

Out To Lunch

Insanity is an important level to reach when you unlock yourself as an artist. Its a terrible and beautiful road we traverse to get to ourselves, and there is this kind of pandora’s box breaking point you get to when tapping into the raw grueling sector of yourself that provides the viewer with the best you can be. Even at the pinnacle of your outlandish self, when you’ve reached what you think is the barrier of your safety point.. you realize that there is yet another mountain to climb in front of you.. and that life your life and the potential of your aesthetic is a endless mountain range filled with even steeper peaks of your craziness and depth.

With insanity, comes the rawness, the depth, the introspective looking glass to yourself and what you are trying to convey in your work.

In the beginning of this TENxTENxTEN project, I relied on the warmth and simplicity of my geometric work to carry me on throughout my life. It was the piece “Wake Up and Smell the Sound of Coffee” that broke the mental camel’s back, and carried me up the first flight of the craziness and roughness of my work.

I have, for most of my life, painted simple things for safety. I had kept my work far from the integral deep part of my heart, because I was terrified of connecting my viewers to any portion of myself and my life’s story. I figured, that people just wanted to see the aesthetic, and that any connection to my head would be in fact detrimental to my artwork.

It was where I exposed myself to the coarse elements that brought people to the real portion of my work. It was that sense of approval from the vast change of my work that brought me to where I am.

In doing so I began to paint everywhere I went. From the various studios in Los Angeles, San Francisco, and Las Vegas.. to the streets of Paris, Berlin, New York City, Philadelphia, Denver, DC, and beyond. Each moment, each painting, I got closer to connecting my work to myself, and in doing so I opened up all the rifts like a blustering electrical storm inside myself.

In this painting, entitled “Out To Lunch”, I combine ALL NINE “Human Condition” Series pieces into a cluster of different emotions and mental actions. In here I have put the elements of previous pieces about love (Forevermore), anxiety(#), joy (Sold in Face, Bubbles in Space), despair (Rain City Blues), confusion (Topsy Turvy), ambition (Sleeping Fluorescent Giants), bliss (Cotton Candy Universe), frustration (Metropolis Rising), and hope (Infinite Summer), and mashed them together into a portrait of the ultimate human condition.

This is the 10th in “The Human Condition” Series, and 82nd in the collection. This piece is the largest of the collection, measuring 36″ x 36″



“Cotton Candy Universe”, The Human Condition Series, No. 71

10 Mar

Cotton Candy Universe


Post Berlin I was in a haze. Everything was a massive blur from the chaotic wonderment that encapsulated me there. I suppose I was a bit heartbroken about the matter, and this was because throughout my life I’ve always connected when I’ve been disconnected from wherever I called my home.

A friend I had met in Berlin decided to visit me nearly three weeks later from my departure from his city. I decided to return the favor in showing him the sights of my home in Los Angeles since he had been so gracious to do the same in Berlin.

In my time with him, we traveled around Los Angeles. Steadfast in my project with TENxTENxTEN I carried a blank Mickey around with me to figure out what feeling or chapter I was going to paint about in our adventures.

His main focus in all of this was a vacation of sorts for both him and I, and I was to relax. Of course, I made whatever this focus was for him, to further my aesthetic into my project. We decided to leave my home in Los Feliz, and we rented a house on the boardwalk of Venice Beach.

While there, he walked the boardwalk in the daytime, and I sat in the front patio of the house painting around Mickey’s silhouette, minutely struggling to come up with a concept of our adventures.. and this came to mind. I decided to focus on BLISS, that ever incredible feeling of just being in felicity of one’s surroundings.

We traveled from Venice Beach to Palm Springs a day later, and I spent the remainder of this piece painting in the quiet breeze of the desert.

This painting represents the calm from the wild storms of heartache and anxiety. In here, Mickey is floating among tranquil bubbles and soft arching hot air balloons that quietly smooth around the circumference of a cotton candy universe. This piece speaks of that vacationing quiet that soothes the troubled heart and calms the quelling mind of life’s trials and tribulations. This is the 79th in TENxTENxTEN collection, and number 9 in “The Human Condition Series.



City of Flowers, Battle of the Senses Series, No. 70

7 Dec

560O0115C City of Flowers 14x14-1

Flowers are incredible forms that bring us to witness them in both smell and sight. These beautiful creatures, bearing both of these senses, often create cross sensory effects when one sense is not able to be present. For example, when we smell flowers in a product (soap, candles, etc), our brain creates the architecture of their visual presence in front of us. This also goes for when we see pictures of flowers that we cannot smell. .. our brain creates pathways to imagine the scent in our head, and therefore creates the ultimate battle of the senses.

This piece is entitled “City of Flowers”, and it visualizes Mickey, floating in a world of flowers we are able to witness by sight, but not in scent. These flowers float together, as if the entirety of it was a metropolis of nature, in where each flower was its own building, carrying millions of pollen grains as its residents.

This is the 10th and last of the “Battle of the Senses Series”, and registers as the 80th in the TENxTENxTEN