Polyurethane, custom vinyl decals, and acrylic on canvas
8 × 8 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
Decalcomania and acrylic medium on paper
18 × 24 inches
This series returns to the loose, rounded, tubular forms I first painted in the early 2000s. These soft, colorful clay-like masses are splayed in a kind of steam room bardo, hovering between innocence and sexuality, language and organism, glyph and body. They have the muted quality of Play-Doh—malleable, slightly naïve. Ideal forms rendered in the most provisional materials.
Plato's Retreat was a legendary Manhattan sex club that operated in the late seventies and early eighties—a straight swingers club. Gay men weren't welcome, especially as the AIDS epidemic escalated, the same historical moment whose losses echo through much of my practice.
The forms in these paintings contort and flow with an energy that is simultaneously innocent and pulsing toward something—a child modeling the adult world, not quite understanding the forms they are mimicking. But they know what they are even if they can't quite understand it themselves. The Electric Company after hours.