I just returned home from seeing Werner Herzog's new film, Cave of Forgotten Dreams, which reveals the oldest discovered cave paintings thus far (c. 32,000 years ago). While the overall structure of the documentary seemed less considered than I would expect of Herzog, it didn't matter all that much, as the reason for viewing it is not to so much as to speculate on definitions of humanity as it is to simply marvel at the vigor of the artwork. The Chauvet cave drawings are infused with a sensitivity to the natural world that is not just born out of observation, but out of a relationship that can best be described as kinship. You can feel the spirit within them, even across 32,000 years (and with a projector acting as intermediary). 

To see a 3D film that isn't interested in explosions or stomach-turning aerial pans was a welcome experience. In Cave of Forgotten Dreams, the 3D honors the dynamic way the cave painters employed the natural contours of the wall to emphasize their compositions. I imagine it was also chosen because it is the most current means of photographic documentation and, consequently, captures the most information on film for posterity. 

Decadent Decline
acrylic, leafing, toner, and wax on panel10.5" square, 2011 — $450

Where does the allure of the chandelier originate from? Do we all fancy ourselves deserving of more elegance? Does sophistication come before, or after, the attainment of Venetian crystal? 

While visiting Italy a few years ago I was struck by the sheer ubiquitousness of chandeliers— here are a few snapshots to support my claim:

Of course, I'm willing to believe that chandeliers are a personal preoccupation stemming from an aesthetic inclination towards contrast. It might also have something to do with the subconscious comfort that comes with light conquering dark. The chandelier performs this with an opulent splintering of light that asserts not just the presence of a chemical reaction, but the very genius of man's imagination and handwork. 

Bit
acylic, leafing, toner, and wax on panel
2 7/8" square, 2011 — SOLD

The smallest work I've created in some time. 

Bit isolates just the tip of a fantastic piece of spoila which sits atop Venice's Basilica di San Marco. It seemed an appropriate work to share on the official opening date of the Venice Biennale.