• In an attempt to expolre the connections between two people who exchange roles and moments together as lovers, I have created 3 larger works.
    Each depicts a moment in the relationship- kiss, sweetness and consolation. I expanded my use of watercolor onto raw canvas and oils. I used little pigment in areas and using solvent to let the colors bleed out like a wash into the untreated canvas. When at times this did not produce the desired result, I took the tube of oil straight to the canvas like you would a pencil or marker and layed down heavier strokes and outlines.

    “Sweetness” depicts a man taking a woman’s hand to his lips in comfort and appreciation.

    “kiss” is just what it looks like, an expression of love.

    “Consolation” only the so many extra arms of love can bear the burden of our suffering.

    These works are my no means flawless as they were done with an emotive intention vs. a technical precision.

    Of my work, these are some of the largest available.

    From a series of 3, this piece is on stretched raw canvas using oils and pencil.
    It measures 24”x48”

  • Some Mid-Sized Pieces- watercolors

    Watercolor on watercolor paper.
    Piece measures 18" x 24"
    matted and framed
    frame measures 22 ½" x 28 ½"

    "JULIAN” detail
    “JULIAN” detail 

    "CLIFF” detail

    “CLIFF” detail

    “CLIFF” detail

    "PORTRAIT OF A LADY” closer

    “LILY OXEN" 
    "LILY OXEN” detail
    “LILY OXEN” detail
    “LILY OXEN” detail
  • "Go Away..." Framed Prints, limited edition of 10 -

    10 framed prints of “Go Away..”
    frame measures 9’’ x 11’’ while mat opening is 6.5’’ x 4.75’’

    numbered and signed,

    Original is still available  ($100)


    Pieces are shipped USPS, with tracking. Billing will take place after shipping is calculated based on your location.

  • "the book of selfish inquiry" - what it is.

    “This book contains several of the pen and ink illustrations created between 2003-2004 that accompanied a text which was initially titled "The Hypocrite’s Manifesto.”
    The text itself was written in one sitting during a drug withdrawal.
    The psychological backdrop that set the stage for this work is complicated, as I was young and living alone with my grandmother who was to dying at the time.
    I was affected by the city and its mechanisms. The cycles of money earned and spent by the masses of people operating just outside. The promise of better things to come was a horrific fable.
    I was especially angered by the excess of billboards. I felt visually assaulted whenever outside and came to gravely resent the world around me. Its visage was so frail and insignificant, failing completely to acknowledge the city as it truly was, the people who inhabited it and the condition of suffering I saw everywhere in the average person. “IT,” worthless, false and so meaningless when held up against the life that was slowly moving from Ruth’s body. Nothing in the public sphere was in place to reflect us.
    The face of the world was a lying one….and still is.
    The text, now lost, and images herein gave way to a larger project my sister and I dubbed “The Leviathan Movement.”
    Many of the illustrations were blown up, turned into silkscreens and posters printed by hand onto large sheets of architectural paper we would collect from a nearby dumpster.
    In the nighttime, Sarah Ray and I would mask our faces and plaster OUR propaganda over the city. This was our ritual. This was our effort to offer the common citizen a different message. We hoped to ask questions as well as to upset.
    The image “Smile” was the most prolifically distributed of the images.
    The time that followed the peak of our work as a team led to death of my most cherished person, Granny, to whom I owe all that had been good in my life and to the departure of my sister who went on to pursue higher education elsewhere. I was left in a state of fracture and set the work of the Leviathan Movement aside and was not able to leave our home for some time.
    This book hopes to archive some of what is left from that year.“


    only 5 copies have been printed and will be available on this upcoming tour with Deafheaven
  • New series under way

    I’ve returned to oil paints but am trying to approach the process as I would watercolor by using raw canvas and stains. Trying to keep the images simple. Im only listening to Stars of the Lid.