Bernice Worden vanished from her job at a hardware store in November of 1957 and after a lengthy police investigation, a receipt for anti-freeze lead them to Edward Theodore Gein’s house where they were horrified to discover Worden's decapitated body in a shed on his property, hung upside down by ropes at her wrists, and her dismembered torso was "dressed out like a deer”. She had been shot with a .22-caliber rifle, and she was mutilated after her death. When questioned, Gein told investigators that between 1947 and 1952, he made as many as 40 nocturnal visits to three local graveyards to exhume recently buried bodies while he was in a "daze-like" state. Apparently he dug up the graves of recently buried middle-aged women he thought resembled his mother and took the bodies home. Aptly named, The Butcher of Plainfield, Gein had been killing women and robbing their graves to make gruesome paraphernalia out of their body parts. He made grotesque furniture out of human skin, eating utensils out of bones and many more nightmarish decorative artifacts. He was initially found unfit to stand trial but in 1968, Gein was found guilty but legally insane for the murder of Worden and was remanded to a psychiatric institution where he died from liver cancer and respiratory failure at age 77.
24 x 24 in.
Kirsten Rae Simonsen
The Garden of Delight
Driving in a rural area of the Big Island one day, my husband and I drove past a zebra. That’s right, a zebra. Just standing around behind a fence in a field, like any other farm animal. We turned around and had a closer look. As if the zebra wasn’t enough, he appeared to be embracing a donkey. Standing next to these two, were a few bison and some African cows. Although the islands of Hawaii are host to many unexpected creatures, including wild pigs, chameleons, cockatoos, and (reportedly) wallabies, to name a few, I had never seen anything like this before. The day was extremely foggy, and this ethereal scene was beautiful, strange and surreal, like seeing a rainbow at night on Maui or flying through a rainbow on the way to Kauai. The amorous attention that the zebra was receiving from the donkey got me thinking about animal hybrids. Sure enough, there exists in this world a “zonkey.” And yes, in case you were wondering, there is also a zorse. But that is another painting.
Watercolor, gouache, and graphite on paper
11 x 14 in.
Statement: In 2014, while on a trip through Southeast Asia, Nick had a motorbike accident on a winding road outside Luang Prabang, Laos. After trying a makeshift tourniquet around his injured leg he was taken to an unsanitary hospital where the flesh wound on his knee was sewn shut. He was not given any pain medicine during the operation. Eventually, he found some Tramadol to combat the pain. This would prove to be a turning point, as he had an adverse reaction to the medication. It started with panic attacks and manifested into hallucinations, paranoia, and insomnia. After returning home to Nebraska the bizarre bouts of insomnia and panic continued for over a year. This painting represents a reflection of that time in his life. "The insomnia came to life in the form of a malleable branch. It gripped my body. I remained motionless. Should I fight or just give in?"
36 x 36 in.
Some times dreams are stranger than fiction. This piece is about a dream, about deep self feelings which assault me during sleep. About that tiny moment in time when you are sleeping but your mind is awake. Feelings are dark, you feel fear and absolutely alone... And, in your dream inside that dream, you jump and shake your soul trying to feel free while you actually feel imprisoned. During those moments, you can feel the impossible made possible, and then, sometimes, you wake up. Jose Girl
26 x 26 in.
oil on linen and mixed media
The Altar of Alice Eastwood
Alice Eastwood was the curator of the botany department at the California Academy of Sciences. When the magnitude 7.8 earthquake shook San Francisco in 1906, Eastwood risked her own life to save these plants from the fires that consumed the city. With complete disregard to saving her own belongings from the fires that claimed the city, Eastwood managed to save 1,497 rare specimens. She is the reason these plants still exist today. Alice Eastwood is the heroine of the Earthquake of 1906.
etched plexiglas, polymer gypsum, thread
«A moose has come out the impenetrable wood and stands there, looms, rather in the middle of the road. It approaches; it sniffs atthe bus’s hot hood.»This famous stanza from Elizabeth Bishop’s legendary elegiac poem The Moose (1977), —- a poem engaging with the memory of the body, family connections, personal and collective mythologies —- has inspired my recent works and the painting I have imagined andcreated for this particular venue. My work questions the realms of alterity and reality. Narratives ofpower, textures and colours, techniques and pictural traditions are key elements inmy explorations of hallucinations, events, facts. They operate and take place on many levels of storytelling, often mirroring oneanother. Questions such as«who»or«what» defines what is«stranger» or/and the «stranger», their locations and how they illuminate the material reality of art, are prevalent. By humbly following Bishop’s example inL’orignal/The Moose, the theme Stranger than Fiction becomes indeed a habitat for the poetics of the everyday world
oil and marker pen on wood
24 x 30 in.
Brave New World
The year was 2021. In the open enclaves of Los Angeles generation nicknamed “ilsie” was forming.Theuniversestillheldearth, the earth still held mankind, and beautiful“ilsie” mothers bathed in the majestic harbor of Los Angeles. Ilsie–the new generation specifically bred to be the future diplomats of the BRAVE NEW WORLD ORDER. The A .I had already been programmed by most of human kind for the past three decades. Ilsie was raised to save what was left of nature–organizing these are cycling camps-a humanitarian tour de force me into change the world by visiting countries and making peace with a ground breaking new manifesto written in a joint effort by Vivienne Westwood and Leonardo DiCaprio.— for“Brave New World.”
8 x 12 in.
My recent paintings are large acrylic color studies of objects; people, places and things. Each of my subjects is situated in an atmosphere and featured as a portrait. I appreciate a mixture of their representational and abstract qualities. I am interested in shapes, planes, layers and the places where these intersect and what they form. The stories and the emotions of these forms absorb me. With paint, these objects are built of dimensional shapes, waves and transparent sweeps. I focus on the continuum and the interruption of the application of color. These turns and twists develop their nature. My objects do not have to stand or support. They can float and fly and disappear and reveal and take us where physics cannot.
Acrylic on linen
16 x 18 in.
The Nosy Vase
The story behind the painting: I was always an artsy kid. Back in high school, I took a ceramics class where most of the assignments were to make a vase or some sort of a clay pot. I never liked making a simple average vase. I always liked to bring part of me to the vase making it more edgy, fun, creative and pushing the limits towards surrealism. So, I would add my face, my eyes, and nose to the vase's shape - Almost, humanizing the vase with a portrait. The stranger than fiction part is when I brought the vase home, my brother until this day tells me that he could have sworn that the eyes on the vase kept following him wherever he went throughout the room which back then freaked him out tremendously and naturally made him frightened from this strange vase which he said had magical powers. Thus, this is my memory of ȐThe Nosy Vaseȑ, and hence inspiration for this artwork.
Acrylic on Canvas
12 x 9 in.
This image was inspired by the Solar Eclipse on September 2nd. I was in Boise, ID where we had a 94% viewing of the eclipse. The sidewalks and beaches near the Boise River turned into an array of crescent covered fields. It literally felt like our feet would sink beneath the surface of the ground. It was disorienting and thrilling at the same time. The perspective of the image is not distorted – there was no need to make it any stranger than it already was. The method I used in creating this piece is one I also use when painting images based on water. Even though the piece is two-dimensional, there is a slight depth due to the layering of painted Plexiglas over a drawing on linen matboard. It’s not immediately noticed until one gets up close to the piece. At that point, the added layer beneath the surface is visible and the viewer is invited to go beneath the initial surface into a pool of abstract markings below.Vivid color, there are 2 layers. Open areas on the plexiglas reveal the oil pastel beneath.
Oil on Plexiglas Mounted Over Oil Pastel on Linen Matboard
26 3/8 x 32 in.
Mixed technique on canvas 48" x 24"
48 x 24 in.
World's Colliding LA
My paintings are very energetic and have affected people in different and unique ways. People's reactions to some of my art upon viewing them are with reactions of comments of Acid Trip indicates that my paintings is of a different reality than two eyes perception of physical matter. I had one lady affected by viewing my paintings that they energized her while others feel too much energy and can't view them. I went to one healing energy event with my art on the table and saw one man check out my art by feeling the energy they emitted and I asked him if he felt anything and he said yes. The truth that I am trying to convey in my paintings per Bose's statement is that there is a greater reality where there is no physical boundary lines, that all matter is in a state of continuous connective emerging, between the realms of the living and the non living, and that inorganic matter is not inert but living under the action of multitudinous forces.
The Circle Cannot be Squared
wall relief assemblage
assemblage with vintage drawer, antique market finds, encaustic, raku fired ceramics, log, circle rock found in the Four Corners area of northern Arizona.
Kimbot The Kardashian assets on display
Each painting measures 30x40in.with 1.25in. thick white sides
Oil on canvas
30 x 30 in.
"La Famille Bleue " (The Blue Family)
This is a portrait of Luna Fugate, a matriarch of the Fugate family which has called the hills of Kentucky their home for over 200 years; and passed down the genetic marker for blue skin for generations.
12 x 12 in.
Alison M Shepard
The Launch (By Endurance We Conquer)
The SS Endurance Voyage is one of the most astonishing tales of survival in all of history. As Time Magazine put it, the expedition ‘defined heroism’. Ernest Shackleton and his men overcame unbelievable obstacles. 100 years later, finding the story by accident, I realized that it was divine timing for my own artistic career. In making art about Shackleton’s voyage, I have discovered the importance of endurance when it comes to succeeding as a professional artist. Making the work has been a visual expression for me of the greater depths of what endurance truly means: patient perseverance, self-discipline, and the important fuel of hope. In the words of Shackleton’s family motto, Fortitudine vincimus, ‘By Endurance We Conquer’. As a celebration of the 100 year anniversary of the crew’s rescue, it is my hope that these paintings will inspire you to conquer your fears, transcend your obstacles and never give up on your dreams.
Oil on panel and canvas
A little painting about our current environmental situation and how nature somehow always wins
42 x 32 in.
A few years ago, a video depicting a tardigrade went viral. This segmented micro-animal, a species well known to the science community, was introduced the the public at large thanks to color enhanced imagery produced by an electron microscope. Also known as a water bear or a moss piglet, this pudgy little fellow's appearance amazed those of us who were unaware that this animal existed. Learning that this animal was practically indestructible and could live hundreds of years added to the tardigrade's intrigue. Now its name is practically a household word, and it popularity continues to grow.
oil on panel
24 x 18 in.
Vombatus Ursinus, a painting of Two Wombats, running, was inspired by these strange facts: Although Wombats have short legs, they can run up to 25 mph. They look like a cross between a Bear, a Pig, and a Gopher. They are mainly nocturnal and are herbivores, devouring grasses, herbs, bark and roots. Their babies, called Joeys, are about the size of a jellybean at birth. Wombats are marsupials, but unlike others, they have backwards pouches, opening towards the mother’s rear instead of her head.This prevents dirt and debris from entering and allows them to stay clean while burrowing.The skin on their bottom is very thick. They use their rear end to block their burrows.Lack of a tail makes it difficult for predators to grab on. They can be aggressive to intruders; they will charge at other animals and humans and can cause injuries with their claws and rodent-like teeth. They gnaw on bark and tough vegetation to keep the teeth from getting out of control. They have special enzymes in their intestines with which to digest tough roughage. Even so, it can take 14 days for a Wombat to digest a meal this slow metabolism helps in their hot and dry habitat. Their feces is cube-shaped; they mark their territory by defecating. The shape of it keeps it from rolling away. If there is a drought or lack of food present, they will not mate. They are champion diggers, with barrel-shaped bodies and long claws and can move up to 3 feet of dirt in a day. They often choose to live in separate burrows throughout the year. They are about 40 inches long, and can weigh up 77 lbs. The largest and most beloved Wombat, Patrick, who lived in Ballarat Wildlife Park in Victoria, Australia, died in April, 2017. He lived to be 31 years old, and weighed 88 lbs.
acrylic on panel
12 x 12 in.
Hustle + Ball Blue
30x30 inches. An homage to local pet celebrities @the_french_brigade of Hermosa Beach.
Original acrylic, spray paint, pastel and marker on canvas.
The Manuscript celebrates the many theories regarding the origin of the The Voynich Manuscript while displaying the vibrant and mysterious beauty that has drawn so many to seek meaning in its pages. In the true spirit of the Voynich manuscript my own beliefson the meaning of the book were “encoded” in the piece itself amongst the other theories. Despite what experts, passionate researchers, and even I, the artist, ultimatelybelieve about the manuscript, I encourage you to explore and enjoy all aspects of the Voynich mystery and simply look for yourself both at the painting, and the book, for yourown adventure into the Voynich universe
Acrylic and mixed media on canvas.
“The Apple of Eden”
Laurence de Valmy
In the fall 1964, Warhol had created a series of 5 "Marilyn" canvases 40”x40” (red, orange, light blue, sage blue, and turquoise). The artist Dorothy Podber, a friend of Factory photographer Billy Name, came to the Warhol’s studio and asked him if she could shoot them. Warhol, understanding “photo shoot” agreed, and she fired into a stack of 4 "Marilyn" paintings. Warhol was very upset and banned her from the factory. Since two of the canvases were really damaged, he decided to repair them and named the series The Shot Marilyns. For Dorothy Podber, this was an act of performance art. The irony of the story is she out-Warholed him and The Shot Marilyns remain their joint works. Warhol, had posthumous cause to be grateful to her. In 1989, Shot Red Marilyn went for $4m, the highest price ever paid for one of his pictures at the time. In 1998, Shot Orange Marilyn, sold for $17.3 million.
acrylic on canvas
40 x 30 x 1 1/2 in.
ellis jake solie
While studying in Chicago my partner and I were shot on the way to the beach. The same bullet that grazed his head above the right ear went through my chest as I pushed him in his wheelchair. I remember the way the air tasted- like lazy sunshine dripping from the corners of my mouth. Sound, color, breath, and thought intertwined. They slowed; becoming thicker until all felt the consistency of syrup, as time seemed to fall and undulate around my ankles. Exactly a year later our daughter was born. My conscience searched incessantly for meaning, connections, significance, and equanimity. The harder I looked for infallibility the quicker the path transformed from a muddy trail to a clouded labyrinth meandering through ambiguous abstractions and enigmas. Poetry began to glow from moments and places. Through the context of my experience, shallow grows deep, light is ubiquitous, and solace is gained by the freedom of not needing to know each explanation. There is dignity in the small, the quiet, and fragile. The mediums I continually use are paper, fiber, ink, clay, gold and words. Brightness speaks to me and I try to lean in. I see my work as creatures with their own sort of life with an ability to experience their own sort of death. I put my tangible hopes into each piece, and once in a while something interesting happens. This piece is about what makes us strong/what makes us vulnerable and how the two contraries are able to find comfort with each other in such tight quarters. Ribs Put your words between my ribs and i will hold them for you Without taking a breath
Polyvinyl chloride, acrylic, wool, silk, gold, cotton
10 x 11 x 36 in.
Horned lizards are most known for squirting blood in the eyes of their predators. Added to that, they blend very well into their natural environment of the dessert. Here I've painted my own horned lizard blending very well in a room of it's own. With blood from his eye and blood splatters throughout the room, is it trying to warn off predators or just merely trying to straighten that painting on the wall? I added a cricket so he wouldn't go hungry.
12 x 12 in.
Dolphins sleep with 1 eye open, in fact only 1 half of a dolphin's brain sleeps at a time. This is so they can stay conscious, breathe and remain alert for predators. Some dolphins are also pink in colour. Here I've painted a pink napping dolphin who is half awake and half asleep, half in the day time and half in the night time and half submerged in water and half not. A pretty content dolphin in its element, this painting works upside down too.
12 x 12 in.
Wax worms are the caterpillar larvae of wax moths and in the wild they live as nest parasites in bee colonies and feed on bee wax. Although a foe to the bee keeper, wax moths have potential to be friend to the great environmentalist. Wax worms have the unique ability to digest plastic, a possible solution to plastic problem. I painted this one happily munching away on plastic containers, straws and cups in a 5 star restaurant. 2 friends have come to join and he's doing pretty well for himself.
acrylic on canvas
12 x 9 x 1 in.
Man With Tatoos
34 x 10 x 11 in.
21 1/2 x 9 x 5 in.
Alison M Shepard
The Art of Waiting
The Art of Waiting One of the things that inspired me most about Shackleton as I was researching his story, was his wisdom in leading his crew. He was a flexible and adaptable leader, adjusting his strategies when nature threw a wrench in his plans. He had a very insightful understanding of human nature and relationship dynamics; he would often keep the most pessimistic crew members close to him so that he could instill both discipline and hope. His intuition for what needed to be done in the moment was in many ways, what saved his men from despair in times of great difficulty. He had an incredible gift for keeping hope alive in his men. “Equal in importance to Shackleton’s supreme resilience, was his care, almost obsession, for the well-being of his men. Shackleton was ever concerned about his men’s morale. He understood that idleness quickly begets depression, and so he kept the men as active as possible, sending them out for vigorous games of football and hockey while the Endurance was trapped in ice.” -Brett and Kate McCay “Leadership Lessons from Ernest Shackleton” from The Art of Maniless
Oil on panel and canvas
Oil and oil crayon on canvas
21 x 21 x 2 in.