Linocut Diamonds.

Grooving away with a new series of Linocut Diamonds. Always fun to get unplugged & revisit disciplines from the past. The last time I carved a block was 1999. It’s even more fun & relaxing now 20 years later.

Never gets old. I love this part of the process even more than the final printing. Def inspired to go XL with next chapter of these.

This project reminded me of some super-sized ideas I’ve had on my to-do list for years that I plan to experiment with in the next months. 1) Big drawings like this at low tide on the beach. 2) Big drawings like this after a healthy snowstorm with a shovel on empty parking lots. 3) New series of locally foraged organic material compositions, kinda like the stuff I made at Summit back in ‘14 but bigger & 3d.

Linocut Diamond # 1. I printed quite a few tests of these & the ones that feel the most interesting to me are the slightly grainy results. I imagine my serious printmaker friends would urge me to keep going for the elusive perfect impression, without the noise. But that pursuit is such a big part of my work in other disciplines I actually prefer seeing evidence of the block textures in these. There are plenty more APs that are either under-inked, shifted, or completely flooded, and each of these is kinda fun to look at too. I guess I’m just easy to please at the start of a learning curve.

Linocut Diamond # 2. I enjoyed playing with different frequency stripes to hint at a greyscale value spectrum when viewed from a distance. This technique obviously works better at a larger scale & a further viewing point, but it does work on these 8”x8” jams too. Wanna try? Hold your phone as far away as you can & squint your eyes a bit : )

Linocut Diamond # 3. Blending these symmetrical blueprints with randomized highlights & multi-directional stripes helps to keep the eye moving around the design. Hopefully giving each one some of the dimensional energy that a diamond has when it catches a sun ray ricochet.


Tropical Camouflage : Assemblage Series.

This experiment has been a fun & challenging change of pace. After a healthy block of digital works over the past months I set out to create a big series of 20 organic/spontaneous wetwork paintings with watercolors, inks, & acrylics. I got all the paper drenched & worked the series all at once, adding washes, textures, & letting dry. Then repeating this process again & again for each, diving back in with more groovy layers. After a few rounds of this I reached the point where it seemed more fun to grab scalpel & scissors to remix them all together & see where that would go rather than continuing with each piece on its own as a traditional canvas.

For this chapter of the experiment I kept the forms all organic & groovy, somewhat peaceful & other times a bit chaotic perhaps. To my eye they def feel like some sort of tie-dye lava lamping dreamscape.

Playing with color & form in this way is much different than my usual approach, in both my digital & unplugged work. Rather than loading a brush with color and knowing where I was headed with it, I was shuffling thru the deck searching for a moment within a bigger piece that seemed to fit with the flow I was going for.

That 70's Flow. I carefully cut out sections that I enjoyed & then searched for where it could fit in another composition. This forced me out of my comfort zone & allowed me to arrive at some unexpected abstract arrangements, color combos, & plenty of sloppy/clean juxtapositions that fit with the overall concept.

Towards the end of the exploration I was running low on certain color combos & lighter tone gradients that jumped out of the pile earlier on, & this was cool too. It took quite a bit of rotating & trimming of pieces to accomplish the sharp contrast edges to each new layer. In the end, especially in this piece, it has a colorway I would never have arrived at if I were painting in my typical ways. I had no more yellows & highlights, so there were none used, & I like the result.

One of the most important rules I set for myself with this chapter of the exploration was to never go back to my paints & brushes to modify spots & strengthen the composition. Pure collage once the knives were out. It would have been easy to do a little touch-up here & there with contrasting tones to make them pop more. Or to ad highlights/shadows with ink washes. But I worried if I started to do that I would go too far & end up with results that looked too similar to my past wetwork freeform paintings. Looking back at the series now I feel there are some nice moments, some sloppy ones, & a bunch of new ideas for how to incorporate collage into my studio work in the future. For sure I'm going to make a series that celebrates pure geometry, without the voluptuous curves of these. Another idea I have for the future is to do all of my scalpel work to the watercolor paper prior to receiving paint. This way I can build compositional blueprints & then be very deliberate with the colors/gradients I apply with ink washes to each of the puzzle pieces before glue time. Anyways, that was fun & I'm feeling inspired to make more work that embraces chance & spontaneity. On to the next.


Shadovvs 2019 : Gates & Window Security.

This project has been a lot of fun to experiment with, design, refine, build prototypes, & dream of where it could lead to, at full-scale & in-situ. I set out to create a robust series of rectangular knock-outs that fit with the vocabulary & functionality of cast-iron entryway security gates / 1st floor window shields / decorative balcony railings. Ever since I began to travel a lot internationally there are many things at street-level that I can't not stop & admire, photograph, & dream to one day be involved with the design of. These touches of beautiful security are some of the most unique ingredients of street-level design in many cities around the world. And it is really awesome that even today, as the visual landscape of many city grids the world over get more & more similar, these simple & functional elements continue to express different flavors in different places.

I had been gaining momentum with ideas for this exploration for years, but then on a trip to Mexico City this past Winter I was overwhelmed with inspiration and finally committed to get going with it. For sure there is a wonderful & unique variety of this stuff there & throughout Central & South America. Europe really has it going on too, especially Paris (of course) & Barcelona, Lisbon, London, Milan, Berlin. Gotta shout out SF & NYC too 100%. Really everywhere I've been there is plenty to ponder & appreciate when it comes to clever & beautiful solutions to this basic form or security. It could always just be a problem solved with jail-esk vertical bars & unfortunately there is a lot of that going on, but the art/design continues to flourish & I really appreciate that.

There are many practical considerations that contributed to the way I constructed each of these designs. Strength & balance are key. For a door that will be on hinges there must be equal weight distribution, & for most of these I envision a possibility of the center-line being where the lock & passage point is, so symmetry is logical (just as we often see in these things). Structurally it is important to have enough connections in the design so that it can't be breached with a couple severed junctions & safety-wise its best to avoid too sharp points that could accidentally hurt a pedestrian or snag a bag on a crowded street. I tried my best to stay mindful of all of this when composing each of them, while simultaneously striving for plenty of aesthetic differences in my own visual vocabulary from one to the next.

When it came time to build out this chapter of the series as wall art I was on the fence (lol) as to how best to display them. At first it seemed most impressive to have the gates suspended a fair distance in front of the background, as would be the case in real-life scenarios. But I learned quick that they actually pop the most mounted flush, one-color & showcasing the compositions thru light & shadow. I experimented with mounting on mirrors (this was cool & has a bit of a concept to fall into, but I decided against if for now). I also did a few tests with mounting the laser-cut onto glass & hand-painting multiple colors on the backside to arrive at a stained-glass-esk result (also cool, but gonna hold off and do this in a different way in future. Ideally real stained glass :) After all the experiments I arrived at this format : Framed 17" x 21" x 2", painted 1-color w/ MTN94 matte spray & ready for great #Shadovvs action from any light source.

This is just the beginning of a new chapter in my studio. I’m def trying to link with 'Gatekeepers' (pun intended) working in Architecture / Interior & Exterior Design / Metalsmiths / City Planners / Etc. that see potential in collaboration & implementation of my work at ground-level around the world. Any intros & advice much appreciated!



Isometric Geometry : 10-c Earthtone.

And the full color version of this new Earthtones Isometric Geometry for my next textiles collection. Lots of fun to dive into all of the details constructing this one. Video above & vertical panorama below.


Isometric Geometry : Textile Blueprint.

Blueprint Pano from my new textile collection. The actual design is maxed out with 10-colors (sharing that soon) but I also enjoy seeing these types of infinity loops in x-ray mode.


MWM X 3M ScotchBlue™ Painter's Tape.

I’ve had the pleasure & honor of partnering with Scotch® Painter’s Tape to create some colorful geometric murals at Yaya in New Orleans. The good people there are dedicated to empowering young artists & that’s something I definitely support. After decades of working with ScotchBlue on murals all around the world, literally dozens of miles of blue tape, this really is a dream come true collaboration.

BIG thanks to everyone involved! Stay tuned for more!

View Murals Archive. Stay tuned for more! Press & Credits. More Videos >> 3M ScotchBlue™.


Endangered Angels : Flying Insects.

Papilio Xuthus : Swallowtail Butterfly.

Vespa Crabro : European Hornet.

Lucenus Cervus : Stag Beetle.

Epitheca Costalis : Emerald Dragonfly.

Batocera Rufomaculata : Tree Beetle.

Saturnia Pavonia : Emperor Moth.


Shadovvs 2019.

Bringing dreams to life. A glimpse at the process of my new series inspired by ornate iron gates, stained glass & ground-level window security shields. I've been working on a big series of these for months & I'm hyped to share the results. Stay tuned for more of the process over on Instagram.


Graffuturism L'avenir : Mirus Gallery Denver.

L'AVENIR – Graffuturism Group Exhibition. April 26 - May 25. Mirus Gallery Denver.
Great line up. Hyped & honored!