acrylic, toner, and graphite on panel
24" x 36.25", 2009 — $1,500
In an earlier post I discussed the need for always photographing your work as soon as it was completed. . . this work was, in part, the catalyst for those thoughts, as it was completed in 2009 but not documented until spring of 2011.
Morning Draught also has the distinction of being one of the few works in the past years that I haven't sealed with cold wax medium. This decision causes me to treat it exceedingly tenderly when I move it around, but I love it all the more for its delicacy. There's a softness to the tones of graphite (which are being held in place by a few layers of Lascaux fixative only) that reveal something very essential about these linear blades of grass.
acrylic, toner, conté crayon, and wax on panel
6.75" square, 2011 — $330
What began as a process experiment took on a peculiar gravity as I proceeded to obliterate, and then bring back, the wind strewn hiss of a geyser.
I will make the assumption that the source material is from Yellowstone, but that is my default answer for any photo I own that contains geysers (and yes, I have found many more than one such image). Nevertheless, it was the thought of someone holding their head over such a noxious orifice to obtain insight into the fickly nature of gods that most captured my imagination.
Hence the (rather heavy-handed) title.