24 x 30 June 2012 A reproduction of 4 Little Weirdos, on canvas and slightly larger. It has the Mouse Yam, which I discovered in Burlington NC on Mayday when I was helping a little old lady pick out sweet potatoes for her dinner. Also the bottom panel is transformed. The canvas was originally intended for Cousin Bernie, but it was too small.
Inspired by the Butcher, the Baker, and the Candlestick maker. The latter has become a ghost upon seeing the puffin. The tall bird is a cormorant. Painted Spring of 2002. The bakery is Lucinda's Bakery, run by David Dagney. If you think the Albanese Butcher's pink underwear violates the Museum's no nudity policy, no, I was trying to achieve the layered look.19x24
Some visual art has its own logic which cannot be described in words. 18x24
In honor of the American Society for Classical Realism and its distinguished patrons. 16x20
Eggs speak in couplets, like "gazimp /gazomp", and this painting has all known words of Egg Language. (also ka-trimp, ka-tromp, ka-plomp, kla-pomp, ga-rimp, ga-romp, gal-yamp, gla-vimp, and the singular gizzle-yomp) This painting was actually the palette for another painting.
Yam’ mig adj 1. literal but rare: The conversion of a locomotive into a cucumber, as in "become a yammig". 2. idiomatic, colloquial usage: representative of a small dog that thinks it is a big dog. "Bunch of yammigs", "That was a yammig movie". Yom' mig adj 1. Pertaining to something that really is a big dog, as opposed to a yammig. Cf yosmodog, the superlative form. 18x24
2010 Inspired by the painting "Twilight Confidences" by Cecelia Beaux, a truly great artist and one of my favorites. That work is an anomaly in her ouvre, just as this one is in mine. There are nineteen magical spots on earth, three in North America. They come and go. Right now this is one of them. 28x22.
To prevent overcrowding, Vegetable Beach restricts admission to a different color of vegetable each day. The orange gained admittance on a technicality. "Hey, today is Orange Day, and I'm an orange". But the tangerine did not want to risk the worm police, after seeing what happened to the foolhardy apricot. Also notice the remnants of a grape.
As originally conceived, this picture was vertical, not horizontal. There was an ocean to the left, and a city to the right, of the beach. Fruits were welcome guests, and cooling polka dots were rolling off the sea onto the land. But I realized that without my intending to, the sea had turned into a four-eyed worm eating Michael Quigli's grape! This led to notions of property rights, arbitrary property rights, trespassing and the consequences thereof, as expressed in the final version, which has a more somber tone than is usual in my paintings. (Michael Quigli and his ridiculous grape are completely fictitious, although there are several real Michael Quigleys.)
There was a photograph of a man sitting at a drafting table, on a stool. I liked it so much I wanted to repaint it all in yellow. I thought the man was Modigliani. Later I learned he wasn’t.
His eyes are three different shades of yellow. Her nose is a jalapeno pepper. 29x23
Sage, what are you doing here?Well don't you think I belong here?
Yes, you are an amazing painting.
But no one has ever heard of you!
There is a strong clue about me in the Yams gallery.
Can't find it
I'm having a great life, full of richness and wonder, ha-ha! Same as yours, probably.
Dec 2018 16x20
Teamer Archevan / Temeur Archevan
The first title is from a dream. I don’t know what it means. Upon awakening, I immediately started calling it by the second title. Teamer as in lemur, but temeur as in demure, or obscure. (Not Demi Moore, who is neither). Much better than “cityscape”, temeur invokes the Central European feeling of Washington DC that I wished to convey. The view from room 815 of the Hilton hotel on Mass Ave.
May 2016 22 x 30
What's with all the crazy language on this page, little fishie?
Rimbo Kaze Beep Nal!