Bodies of Work
This site serves as a catalog of my two-dimensional work from the years 1982 – 2004. It is comprised of what I consider to be finished pieces - works that I have shown, or would show publicly. Studies for the major oil paintings, usually in pencil and pastel, are included as well. Besides establishing compositional and color choices, the studies were meant to be seen and were almost always framed and exhibited alongside their more involved counterparts.
The collection does not include any sketch work, or costume or set designs. While The Buffoon Paintings are represented, my work on the graphic novel, Tales of the Buffoon, which I began in 2004, is not. That subject is fully covered in a separate site, TalesoftheBuffoon.com. This catalog does contain, however, drawings from an early abandoned science fiction graphic novel, Ens, which I’ve included on a lark.
The majority of the work in this group was shown in a gallery setting. A portion of it sold and is no longer in my possession. Some has never been seen before. I myself had forgotten many of my own paintings and drawings only to rediscover them recently when I decided to have my old slides scanned and digitized. The process of color correcting each image led directly to this endeavor.
In 1996, while preparing The Dark Paintings, I was unconsciously struggling with deep depression. I became sharply disillusioned with my own work and sought out a new direction for it. The results, at the time, were unsatisfying to me and I set down my brushes for two years, instead focusing on design projects. When I began to paint once again the work would look quite different. Then, ultimately, I turned to the past (where answers, I’ve come to realize, are often found), and I allowed The Buffoon to run loose in my life once again. Therefore this catalog is, in a way, a body of work unto itself, with a beginning and an end. It is the story of my investigations into the human figure, as a subject, as archetype, as a symbol. It is also a document of a clearly discernible fall into despair.
I see these images with fresh eyes now and I’ve been able to reaffirm their value to me as an artist, while newly discovering their undeniable connection to me as a human being. My only hope is that they hold some interest to you, the viewer.
BODIES OF WORK
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