Tag Archives: art

simulacrum painting

simulations are always obviously not the real thing. anything you can think of that uses the word simulation manifests some quirky, not-so-equivalent equivalency to the real thing, though simulations in the utilitarian sense are often used prior to the ability to use the real thing. flight simulators have become so sophisticated that perhaps they are an exception, but driving simulators will never reach the kind of operative level as flight for the sole reason that air traffic and road traffic are not even in the same licensing arena, nor are the extensions of the body which create the simulacral manifestation of travel that out performs any natural abilities like walking, running, skipping, rolling, shifting, jerking, pivoting, tucking, snapping, epileptic vibratory locomotivation, or other means of self propulsion.

but not spinning….

im not talking about spinning or gyrating. that would be ridiculous. Who would spin to get from point A to point B? I don’t know. I know of 34 indivials … or rather a group of 32 individuals and their 2 leaders who gyrated in ellipses all the way from Canada to the edge of the Milky Way over the course of a summer. They had #colluded with several top executives in the American Star Federation to be granted temporary embargo relief while wearing vanilla sweaters stitched in lilac and socks of silver lining so that the witness to the full blown fraud fiesta could be better assimilated after being drowned to death every winter without chocolate slacks or berry pants to to keep them covered and sweet to the mouth. Had spinning occurred all hell would have broke loose. #thaticantellyou

in this painting, the subject is set free from most activities involving current computer technology and their operating system softwares. Perhaps it is a dream come true. Perhaps it is a nightmare that all people have after gyrating from the center of a geographical parallelogram to it’s caramel nougat Christmas vest patterned race car with Italian manuscripts in seven Asian languages over the course of 38 minutes. Either way the subject objectively has no fucking hands. How they disembarked is not really indicated, nor are the hands visible, which suggests that perhaps there never were any. If  the viscous red substances splattered about and roping in a pile from the openings at the ends of the subjects arms is blood, then maybe it’s just a #constant. This may not be a tragic narrative after all. I can also speculate that this flowing mess is food. Why? Because I am very hungry and want to eat some food. If that food comes out at the wrists, then I got no problem with that.


Maybe you know what’s going on here. The artist that painted this image is a Dutch-German Chocolate Cake from California and does not take responsibility for assumed content in any of his paintings. Generally speaking, assumed content coupled with exaggerated and gestural form is basically the approach. trying to critique some meaningful message or narrative from it can only end badly, so I suggest that you don’t try.

if you truly cannot help yourself, then leave a comment which specific“efficiently describes the size of the opening needed to place the money that will be `used to purchase this fine work.

*do not cut your hands off at the wrists thinking a viscous candy will poor from the opened ends that you can lap up or sell to children. Just don’t do it if for no other reason that it would be hard to use your touchscreen device.



My whole life has been spent putting pencils and paint to surfaces to see what type of representation might manifest. I can’t say why I started doing this, other than I remember my mother oil painting at the repurposed kitchen table, which eventually evolved into folk art painting which was safe enough for me to dabble in. I remember the small plastic bottles of liquid plastic colors – none of them were very hi-chroma, which is a toll art thing and also probably the reason I ended up choosing very highly saturated colors when I started painting on canvas. I painted and painted on canvas, paper, and eventually on all of our table tops and other furniture as the prospect of storing more canvases (painted or not) became daunting. By the time I switched from one California State University to the newest (at the time) Cal State campus at Monterey Bay, I had almost altogether given painting up to the occasional utilitarian activity of painting objects that would be part of assemblage art or combine painting. The one thing that had suggested itself to me very loudly was the emerging capabilities of the Macintosh computer. Nearly everything that is possible on today’s systems was possible in 1997, it just took so much longer and was less forgiving. But that less forgiving part was what made things work very well. With one undo and a twenty minute wait to process any major pixel transformation, you just had to commit to decisions and keep going. It feels strange to use several undo’s on any system for any reason. It’s this experience that taught me how to get the most out of the time allotted. I was kind of pushed into the label of graphic designer by the Institute for Visual & Public Art, which would be both a very good experience as well as an awful one. I am not a designer. Never have been. Designers are highly organized and somewhat detached from what they make. They have to be by the nature of what they are doing…. and fonts? Forget it. I can’t stand to look at endless fonts in indecision. 


A new collection of work is coming down the pipe. Somewhat of a departure from the SNAKES AND EGGS Collage work I’ve been doing, these newer pieces are rooted in the ideas of writing, language, graffiti, and the postmodern practice of using a pre-existing image or material that carries a weight of signification that is altered or alters that which is applyied over it.

these are the first two in the series with many more completed and even more planned after that. Though they remain in a digital state, they were created with the intention to print.

check back or follow to see the new work as it comes out every week


PHYSICAL GRAFFITI - California Garter Snake

California Garter Snake


Metaphysical Algebraic Copyright®



Fish Center Live came back from their holiday reruns on my birthday, so I ended up missing about 3 shows. I honestly expected them to take the rest of the week off, but I guess there is no rest for the fishes. The episode in question included FishGuyJosh’s gift (awesome fish guy) to the fish and their commentators.

Something caught my eye when I watched this episode – Ok – lots of things catch my eye on FCL all the time, but this was one of those optical thematic extension illusions. – check it out.



No – the table in the Fishcenter Live studio doesn’t look like this …



These idiots seem to think that fraud is legal and we have no means or desire to defend ourselves. I didn’t run headfirst into walls wet from the rain of their daughter’s eyes for this long for nothing.

Even if these deplorable humans wanted to hold a candle to compare their daughter to this peon it would take too many resources to lift the fool up on the same platform

but what I have learned is that when republican minds are all in …



This is what insects sound like when they get jobs touring the outlying countryside as circus performers that wear elaborate costumes and put on shows that last for a whole month for the other animal species and some plants which you can hear in the dopler background.




I have been on some thing about hammerhead sharks for about a week or so now and still can’t break down the semiotic equation into understandable, relatable signs. Perhaps it’s their pre-historic shaped head that has had no need of evolving or maybe it’s the way they congregate in giant vortex swimming patterns in the pacific ocean for mating purposes .. or for more sublime purposes that have to do with the other reason I believe I have been drawn to them .. their use of the magnetic field of the planet for more than we should assume we know.

But that is what contemporary art essentially is .. the working of a content problem through paradigmatic and syntagmatic signs in a closed system (a canvas or virtual canvas) with illusory borders that indicate a framework for the set of variables in the equation…. that’s painting. At least that’s part of what painting should be.

this is our kitchen.

with hammerhead sharks.