I'm pleased and honored to share my studio is featured in a new book on infographics by the incomparable Juan Velasco. The sumptuous and gorgeous book, "Look Inside", published by Gestalten, focuses on cut-away illustration.
Here's an illustration we just finished for Scientific American illustrating the effects of sleep deprivation on the body.
An 80 page catalogue of my work from 2012 to the present is now available for purchase. A very special thanks to John Rennie, Miguel Carter Fisher, and Sandra Rendgen for their thoughtful and beautifully written contributions.You can purchase the bo...
I'm happy to announce I'll be in an upcoming group show at The Curator Gallery in Chelsea. I'll be showing with four artists who also work in encaustic. I'm honored to be showing with these painters. The opening is on Wednesday, July 15th. Please RSVP ...
Something washes over me when I pick up a piece of charcoal and draw. It’s primal; I feel the distant call of thousands and thousands of years of ancestry. Maybe it’s because charcoal comes from one of our first technologies: the harnessing of fire.
We make paintings and drawings to claim our existence in the world. This is most evident in cave paintings. They are a primeval psychological expression: of grappling with existence in a world vast, mysterious, and inexplicable. This work is not about taming the natural world, as is most later European art; these animals are not “tamed” for our use. This work is about survival; this is why they are so powerful.
For 35,000 years the aesthetics in these paintings were handed down from generation to generation; there is too much consistency in the work to prove otherwise. Think about that for a moment. These artists seemed not to care about “progress.” (Was progress even a notion they had?) I’ve heard people whine that nothing new has been done in the art world for decades. Decades? Compare that with 35,000 years!
We know about geological change taking place over eons. And yet, on the human scale, we think of 35,000 years as an eternity. We think of the paintings as ancient; yet the cave that has been painted upon is virtually unchanged. So when looking at cave paintings one is presented with the paradox of time: thousands of generations passing in the blink of an eye of Mother Earth.
Caves have no right angles. Did Paleolithic man know what a rectangle was? How often would he see a straight line? Perhaps the only time he witnessed a straight line was when looking out onto the ocean’s horizon. Or maybe he noticed the path of a falling object described a straight line. I look up from the rectangular screen of my laptop. I see the rectangle of the doorway into my kitchen; the rectangular windows letting light in. I inhabit a world of rectangles. Yet they are so ubiquitous I am unaware of them. At times I’ve wondered what an alien would see if they were to visit one of our museums. I think they would wonder why there are so many rectangles on the walls.
I was going to write that we’re prisoners of the rectangle. But something is giving me pause. When I look at a Mondrian a calm comes over me. I’m witnessing the sacredness of the horizontal and vertical line. These straight lines hint at the perfection of physics, or at least how we experience physics: the up and down force of gravity; the horizontal line of stasis and rest. The right angle is a symbol of the sacred union of the activity of gravity and the stasis of rest.
In cave painting we’re witnessing the mystery and wonder of the physical world. In Mondrian we’re witnessing the mystery of the laws that govern the physical world. The subject is irrelevant. What is relevant is the mystery. The awe. The incomprehension and the inexplicable.
The finite mind tries to grasp the infinite and is left peering into the paradox of existence.
“Let the poet dream his dreams. Yet, the poet must look at the world; must enter into other men’s lives; must look at the earth and the sky; must examine the dust in the street; must walk through the world and his mirror.”–William Baziotes
When grapes turnto wine, they long for our ability to change.When stars wheelaround the North Pole,they are longing for our growing consciousness.Wine got drunk with us,not the other way.The body developed out of us, not we from it.We are bees,and our body is a honeycomb.We madethe body, cell by cell we made it.
I'm honored to announce that this illustration we created for Scientific American has been selected to be the cover art for this year's Medical Illustration Source Book.
I'm honored to announce that six of our pieces are in the just published book, Understanding The World: The Atlas Of Infographics. Sandra Rendgen did a wonderful job writing and editing the book. The artists on my team, Joe Lertola and Jeong Suh, did b...
We're proud to have two of our pieces in the new edition of the The Best American Infographics. The soccer graphic was a collaboration with John Grimwade done for 8x8 and the baseball pitch graphic was done for ESPN the Magazine.
WIRED commissioned us to do a few illustrations for their recent 2014 design issue. We created the art of the inner workings that were married to Adam Voorhes beautiful photographs. (The downtown manhattan illustration is an escpetion; it employs no ph...
Each painting is 24" x 20", silk and encaustic on panel.
British American Household Staffing along with The Rug Company hosted a showing of my work in the BAHS offices on Mercer Street. They did a wonderful job organizing it. Here are some photos of the space. I'm happy with how the paintings live in this el...
With the World Cup upon us I thought I'd discuss a commission we did last year for the soccer magazine Howler.Robert Priest and Grace Lee came to us with a humor piece about the soccer shoe of the future. They wanted something ridiculous.I put together...