Studio Chair | 2013
Studio Chair | 2013
Sow's Ear | 2013
Sow's Ear | 2013
Prince's Hanky | 2014
Prince's Hanky | 2014
Glass Slippers (bought too small) | 2014
Glass Slippers (bought too small) | 2014
Mrs. Henri Ray Smith |  2012
Mrs. Henri Ray Smith | 2012
Mr. Alexander Pablo Adrover | 2012
Mr. Alexander Pablo Adrover | 2012
Waste Not, Want Not | 2013
Waste Not, Want Not | 2013
Benglish | 2012
Benglish | 2012
Studio Chair | 2013 ($1,090)
How much of how we see art is informed by its surrounds both in regard to context, and personal comfort; here literally sits a painting on a modern frame, cut with an eye to the Baroque.
Sow's Ear | 2013 ($740)
You can't make a silk purse of a sow's ear. Or maybe you can.
Prince's Hanky | 2014 ($480)
An aborted collaboration. An atypical appropriation piece begun off a garage sale work from the walls of the sold childhood home I'd intended to dub Prince's Tissue for the poster-boy of Appropriation, after a frightened and inglorious broadcast of infidelity, got a name-change and after, cut, hung, and done. A serpentine support dangles an overpainted Eden with a back worn bloody, and a hole through which to see beyond. I wish him well.
Glass Slippers, Bought Too Small | 2014 ($600)
Valentine's. Planning for a future, saving toward an end, I had relented and said he could buy me a small, practical, gift. 
Ms. Henri Ray Smith | 2012 ($655)
A discourse work, an odalisque, based on Matisse, Man, and Kiki respectively; it addresses not only the concept of the male gaze but also, in the basis of Kiki Smith’s Train, menstruation. 
Mr. Alexander Pablo Adrover | 2012 ($630)
A discourse work, companion to Ms. Henri Ray Smith, based on Calder, Picasso, and Miguel (himself touching on Quentin Crisp), respectively. He's a bit of a scalawag. 
Waste Not, Want Not | 2013 ($395 & $375)
Scraps twice repainted and assembled with materials exotic and mundane, Waste Not and Want Not morphed in the making from an essay on Punk to a rumination on plumage of a more endangered nature.
Benglish | 2012 ($1,270)
A discourse piece, playing off the work of Lynda Benglis.