Rainman Gallery
Rainman Gallery  

Recent Work

The Asylum

The Asylum, Woodcut 2013, Ed. 3/5

In Celebration of The Chinese Year of the Snake

The Molting

Originally exhibited in the MAYOR'S GALLERY in Las Vegas, NV.


The Molting, 2013, Ed 1/5

Aurora Borealis

Aurora Borealis, 2012, Woodcut, Ed. 1/20

Venice Reflections

(by request only)

Venice Reflections, 2012, Manipulated Wooodcut Print, Ed. 1/5

"Dia de los Muertos" Skull at "The Gallery" in Boulder City.

 to benefit

Family Promise of Las Vegas.








Foliage, 2012, Woocut, Ed. 1/20
Zurich, Switzerland Sunny Village, 2012, Woodcut, Ed. 1/20

Desecrated Angel


The Board of Virgin Valley Artists Association has declined your proposed entry

for Lucky 13 Small Works Competition, “Desecrated Angel.”  The Board is unanimous

in concluding your work to be of an adult nature that is inconsistent with our obligation

to serve our gallery's broader viewing public, young and old. 




Sax in the City

(Woodcut, 2/10 multicolor edition, 2012)

Confessions of a Butterfly

(A Woodcut Print Triptych)

A man dreamt of himself as a butterfly.

Upon awakening he wondered whether

he was a man in the dream of a butterfly.



Buddha of Longevity, Woodcut Ed. 2/10




Zabriskie Point (Death Valley), Woodcut Ed. 2/10

Click the link below for a theatrical trailer of the Movie "Zabriskie Point" by Michael Antonioni also known for the movie "Blow Up". 

Zabriskie Point was one of the most extraordinary disasters in modern cinematic history. The arithmetic alone was astonishing. Reeling from severe management trauma yet eager to capitalize on the booming counterculture youth market, M-G-M -- which went through three presidents during the production of Zabriskie Point -- poured $7 million into the film, an extravagant figure for that time and nearly five times what Antonioni spent to make Blow-Up. Zabriskie Point was also the director's first big flop and a crippling blow to his artistic reputation. Critics of all ideologies -- establishment, underground, and otherwise -- greeted the movie with howls of derision. They savaged the flat, blank performances of Antonioni's handpicked first-time stars, Mark Frechette and Daria Halprin, and assailed the script's confused, unconvincing mix of hippie-buzzword dialogue, self-righteous, militant debate, and free-love romanticism.

In his lengthy 1970 review of Zabriskie Point in Rolling Stone, critic John Burks chastised Antonioni for the clichéd images of freedom and social oppression in the sequence in which Frechette steals a small private plane and, from his wild-blue perch above Los Angeles, gazes down at the blanket of smog and the rat's nest of freeways meant to symbolize the soiled heartlessness of consumerism-run-amok. "Corny? You bet your ass it's corny," Burks wrote. "Antonioni has constructed his movie of so many lame metaphors and bad puns that it's staggering."