As We Approach My End In Phoenix

Before I go any further, if you happen to be in Los Angeles this weekend, come see me! I'm playing a few wonderful gigs out here and would love to meet up. If you know people out here whom I should meet, get ahold of me and say so!

FRI 5/15, 5:00 - 8:00 PM at Acoustic Set @ Euphoria Loves Rawvolution Café
2301 Main Street, Santa Monica - FREE
http://www.euphorialovesrawvolution.com/

SAT 5/16, 7:00 - 9:00 PM – Acoustic/Electronic Set @ Cinespace
(a battle of the bands benefit for pediatric spinal trauma)
6356 Hollywood Blvd, Los Angeles - $10 recommended donation
http://cinespace.info/
http://www.thebrainproject.org/PABIHERO/index.php

SAT 5/16, 10:30 PM - 1:30 AM – Live Art @ El Cid
for Carousel Galaxy, Terraplane Sun, & DJ Azmyth
4212 W Sunset Blvd, Los Angeles - $10, 21+
http://elcidla.com

> Imagery

available - 2009 05 08 The Rhythm Room (That 1 Guy) - 16"x24"

If you haven't seen That 1 Guy, make it a priority. Best (non-guitar) one man band ever. I started with purple paint stripes on this one and to my surprise they ended up pretty wormy. Appropriate accompaniment for an act that talks about Weasel Pot Pies and a Buttmachine. Yet there are those silent sentient gazing orbs...calling the worms up out of the ground like snake charmers, the sacred and the profane. Here's a detail of the centerpiece:

available - 2009 05 06 & 13 Sail Inn (The Sugarthieves, BCBC String Band, Black Carl) - 15"x30"

It's been a while since I had time to work on a two-nighter...thankfully The Sugarthieves have a weekly Wednesdays residency at Sail Inn and I got to spend all of last week's gig working on the orbs and hourglasses that make up the background matrix of this piece. Everything here derived directly from a flower of life grid I'd thrown on the board a few weeks ago, waiting for a prime moment. It was my first attempt at covering the entire board with a grid and since I hadn't used a ruler it came out somewhat lopsided. But the imbalance of the piece is held in a wonderful, delicate tension with the formal, measured aspects of it. I got the best of both worlds, I think: careful and deliberate harmonic relationships, but the off-kilter organic sway of my earlier freehand pieces. As is usually the case with two-nighters, this was a troublesome work until it was actually complete; longer pieces are just as improvisational, but often feel like I'm trying to lift a heavier fish out of the waters of the imagination (I usually don't know it's a two-nighter until it's too late). Major successes in this piece include my first satisfying execution of a transparent "glass" overlay, pleasing use of gold paint, and a solid contrapuntal relationship between warm and cool colors, crystalline and fluid forms, visual overtones and undertones. And a nice fractal cube figure. Details of the "yin" and "yang" central elements: