Intent sometimes takes years to grow – you have a vision in your head but it may take years for it to become optically evident. In the commercial world intent is focused on a product but in art, luckily, intent grows together with the artist realizing that intent. There is a flow to this process, an easy state.

This is a piece about a queue of vague thoughts, gestures, earlier work and some paintings at the Rubin museum of art in New York. It is also about conversations and acts of confession from other artists. Whenever I draw or work on my computer I mostly watch hands theater, it is an endless act of creation and an act of war.

It is also about how living in Manhattan change me, it is about turning inward and imploding my personal space. It turned my attention to my intimate space, science defines it as 1.5 meters in diameter. A realization that a simple act of peeling apples actually is an extraordinary act on micro-level, where electric storms of electrons introduce ordinary changes in reality. This “hands theater” is in essence a violent act, not in the way of doing harm but an epic battle to make change, to rupture. Hand painted ocean and fruit ( Manhattan series ) – 40 x 10 inches, pen and ink on hot pressed board, 2010

animation i did out of the work in progress drawing:

 

 

Vader is a part of my past as a Star Wars artist.

Invented Mythologies II, 6 x 4 inches
Dip pen and ink drawing on hot press board.

The process is like etching on paper.

The pen deposits tiny particles of ink in the grooves left in the paper and the effect is three-dimensional, like a very shallow relief.

Exquisite Corpse, 2010

Black and sepia Ink Drawing on Hot Pressed Board, 30×40 inches.

The Corpse gave me a chance to collaborate with a group of awesome artists and also address the subject of the body. I have dealt with the body a lot as a photographer and this was a very different experience. To me the question of what happens to the body and what is the body is as important as what is outside of it, part of the reason i dislike ruffled backgrounds is because the substance of what is around the thing is as important and material as the thing. I am also very interested in the contact – how is the body situated in what surrounds it, since it’s essentially the same matter, it’s just a trick that it’s invisible to the naked eye.Location: Part of a Absurdas Exquisite Corpse collaboration.

I drew Invented Mythologies in 2013. I had taken a break from New York city and lived in Florida for a year. Here is what I wrote about the drawing in 2015:

My prediction ( for 2016 ) is that Vader will frequently sneak into my work, the biggest question for me is, aesthetically and philosophically, how to better obscure him.

As a commercial artist I was involved in the creation of the Star Wars myth and it flows into my own work.

Invented Mythologies, pen and ink on paper, 5×7 in and was a part of my Bushwick Show. Here’s an excerpt from my Bushwick Show post exhibition reflection:

It was great to see you at my Bushwick Show – Invented Mythologies !  And Thank you for braving the heat in Bushwick, some of you coming from upstate or Manhattan, which is just as far:) I got a fresh point of view and heard your comments about the work and your honest opinions. I was amazed at the insights some of you had about what you thought was a successful piece and what you thought was the best part of a successful piece. And what you thought didn’t work. Artists sometimes like to say they do the work for themselves. The truth is we are part of a soup, physiologically and cognitively, we constantly shed cells and replenish with new ones, we are constantly engaged in the world mentally.. so unless we a are a Robinson Crusoe – we are an amalgamation, and so is our work.. to some degree.