12 Midnite
A fascination with the mythical dichotomy that exists between so-called high and low art has driven me to constantly blend techniques and approaches. An admiration for psychological advertising techniques and the rebellion against them led me to the streets and alleyways as an illegal street artist promoting my particular political bent towards pro-human / anti-establishment symbols of personal and societal resistance.
My painting style is deceptively simple, giving the viewer a straight path to a given message. Without having to decipher the "how", the viewer can then head straight to the often thought-provoking "what" and "why".
The pop art immediacy of the 1960s blended well with the political awareness and graffiti styles of the cold war 80s, supplying ample imagery to draw from and a wide-open field for mixing mediums.
The use of neon lighting, more often associated with signage, advertising a product or service is, in this case, advertising a thought process, highlighting what I consider to be the central point of the given piece. Where most art requires specific lighting, this work throws its own, demanding attention and changing the environment around it.
A life-long immersion in car culture led me to use the rolling sculpture of the vintage American automobile as an obvious canvas, leading me to produce innumerable hot rods while at the same time incorporating that imagery into the art as characters embroiled in the constant, ongoing battle between good and evil that is a inside all of us.
My painting style is deceptively simple, giving the viewer a straight path to a given message. Without having to decipher the "how", the viewer can then head straight to the often thought-provoking "what" and "why".
The pop art immediacy of the 1960s blended well with the political awareness and graffiti styles of the cold war 80s, supplying ample imagery to draw from and a wide-open field for mixing mediums.
The use of neon lighting, more often associated with signage, advertising a product or service is, in this case, advertising a thought process, highlighting what I consider to be the central point of the given piece. Where most art requires specific lighting, this work throws its own, demanding attention and changing the environment around it.
A life-long immersion in car culture led me to use the rolling sculpture of the vintage American automobile as an obvious canvas, leading me to produce innumerable hot rods while at the same time incorporating that imagery into the art as characters embroiled in the constant, ongoing battle between good and evil that is a inside all of us.