no more monsters began as an attempt to fabricate an entire arcade, a sort of interactive, immersive environment like what you might find at Disneyland; and while the subject matter is darker, Disney is an apt comparison—ignore the content of that place and think instead to its pure dedication to world-building, cosmology, and continuity. all of the work that i create exists in its own singular universe, and while this has long been a fact privy only to myself, part of this project was to begin to manifest my practice such that individual pieces start to more straightforwardly intersect and interact.
i will take a moment to describe this world. the work i make exists in a state of reverie, of wishful thinking and escapism. over a long time I’ve built a continuity, a history, characters, and recurrent themes; there are in-jokes, and references only i will understand.
this world is one of comics and fallen angels, cartoons and breath and a lack of air, saints and kings and supervillains and monsters. it is not quite earth, but it is close. this place is one where after it made the earth, god laid down to rest and die. Its bones became mountains, its eyes crystallized and became endless mazes, its flesh decayed over millennia and created miasma and warped beasts. i use this world-building as a form of content generation: there is an internal logic i follow, characters that live according to personalities i have set, and locales that grow and decay.
the final arrangement as presented here, there were two fully functional and playable video arcade machines (king sile, the bloody bloody butchers) and one semi functional pinball machine. one day it will be closer to an entire arcade.
this was a sculptural attempt to take a large number of small works and present them as something larger that their parts, a la barry mcgee. it was an experiment that slightly predated the inception of the arcade project, working towards integrating a process of small things into something presentable.
this was a cover made for a local humor magazine, a very high-brow and classy affair. it was made at a time when i was taken with the history of the Comics Code Uuthority, a body which would regulate the content of comic books from the 50s onwards, including such criteria as "All lurid, unsavory, gruesome illustrations shall be eliminated." and "In every instance good shall triumph over evil and the criminal punished for his misdeeds". i wanted to produce an image that both fell in line with the humor sensibilities of the gargoyle, while also being something that wouldn't have been allowed by the CCA.
these are two recent paintings inspired by a robert hass poem (shame: an aria). they're concerned with some issues i was having regarding body image, a few specific people, and my capitalistic culpability in taking a corporate office job. they're intended to be shown together in this arrangement, on easels made for them.
an experiment in video game interaction. this was a controller designed to be able to change and adapt with what would be going on on the screen, to be able to better simulate interaction needed and steer away from the standard twin stick controller (thus opening up more design possibilities).
here i've included a selection of smaller work. as mentioned previously these are important to my work, but induvidually not quite substantial enough to hold watter. there's a drifting vocabulary of symbols and motifs i use; i never expect anyone to fully care about them, but with a larger exposure to them perhaps one or two may stick out.
"with yr own ten toes on the ground", gouache and ink on paper, 2018
"speech bubbles are wonderful metaphysical objects", marker on paper, 2018
untitled in progress kinetic work, oil paint, cardboard, laser cut MDF, 2018
"untitled body print", linocut, 2018
"murder mystery", mixed on either side of board, 2016
"gobble u up, bones and all", ink on paper, 2017
"yr ichor stained wings", ink on hotel painting, 2017
"body horror wasteland", acrylic on paper, 2019