Recent Work
The Asylum
In Celebration of The Chinese Year of the Snake
The Molting
Originally exhibited in the MAYOR'S GALLERY in Las Vegas, NV.
Aurora Borealis
Venice Reflections
(by request only)
"Dia de los Muertos" Skull at "The Gallery" in Boulder City.
to benefit
Family Promise of Las Vegas.
Desecrated Angel
BANNED and CENSORED
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.
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."