Saturday, December 19, 2015


This is an experiment with a $15 go phone I've had for about 3 months, and just discovered it has a camera, and video. Who'd a'thunk it?
 That's my finger flitting back and forth in front of the lens. Psychedelic huh?
It also has audio, so I'm liable to be singing at you before it's over. No. No. I won't do that. (Be relieved, very relieved.)
But I am intrigued by the potential. It's a medium I haven't really considered before.


Saturday, December 12, 2015


~ I call this one "Ice Cave," kinda just to have something to call it. I don't like "Untitled" for a title. 20x16" oil on canvas. The first version is from 2012 and I just did the second one, effectively destroying the first, which I did because... When it was new someone remarked, much to my surprise, that they could see part of a face in it.

See it? I can't not see it anymore, and that's so contrary to what I liked about it, I started despising it.
Finally decided, what the hell, if I hate it that much might as well destroy it, see if that helps.

Some of my best abstracts have come about that way, destroying what I don't like until I do like it. So I went after it, obliterating the most bothersome parts and winding up with one of my favorite obliterators, a big brush full of drippy paint.
But the pareidolia's in overdrive. Now I see more faces. I give up.
At least the color is more accurate in the second photo.


Friday, December 11, 2015

H.R. Giger, 1940-2014

~This is on Netflix now. I watched it last night, very much enjoyed, and recommend that it's well worth poring through a few subtitles - about two thirds of it is in German - but one of my favorite parts is in English, that being the analysis/commentary by Stanislov Grof, who sees Giger's work as expressive of the perinatal journey, which makes a lot more sense to me - makes his work relatable to all - than any of the other (more speculative and personal, imo) interpretations offered by others in the flic.
You get to see his home, how he lived and worked. There are great scenes showing him at work, a real treat, daunting and inspiring at once. He was a Master.
The filmmaker, Belinda Sallin, clearly loved Giger and his work and imparts a mood and feeling that fits the subject well.

Enlarge these. It's worth it. This one's from his "Biomechanical Landscape" series.

OK, a little hambone here. A sketch I did shortly after seeing "Alien" back in '79.

I don't know the name of this one, but it's probably something Ridley Scott saw that moved him to approach our man about working on the movie.

Another in the "Alien Monster" series.

Cover fold-out from Danzig's 1992 album "How the Gods Kill." A slightly modified version of "Master and Margarita," shown in it's original form below.

Notice the difference?

"The Spell" He has a whole room in his house dedicated to this one.

Giger's biomechanical take on Arnold Bocklin's "Island of the Dead."