There was something very familiar about my new studio, particularly toward evening.

Took awhile for me to figure out what it was:  the space is very reminiscent of a series of drawings I did in 2004-06.  Which philosopher was it who said artists had to be careful as to what they created because life would become like it?



Cormac McCarthy.  The Crossing and The Road

Yves Marchand and Romain Meffre.  The Ruins of Detroit.

Rei Kawakubo.  Commes des Garcons Fall 2011.

Austin Kleon.  How To Steal Like An Artist (and 9 other things nobody told me)



Categories : Drawings

Metamorphosis Drawings


Metamorphosis, transition, change, tension.  These are small drawings, averaging 6 x 8″ in pen, ink and pastel.  More new work can be seen on my website in the Mixed Media and Ceramic sections.

Categories : Drawings
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Documenta – May 2011


Garage to studio conversion:  window installed in one of the garage doors.

The concrete floor was uninsulated with no vapor barrier so we ended up raising the floor  1 1/2″ to insulate.

Raising the floor meant raising the existing doors.

Chance Collection.  A retractable measuring tape that quit retracting.  Selection of toasted concrete drill bits that were good for about 40 holes if you resisted pressing on the drill, 15 if you didn’t.   Bit on the farthest right was used to stop up the insulation to floor glue bottle.  And a regulator which didn’t, though it did for about 12 years.  The diaphragm went out approximately 5 minutes into a 20 minute oxy/acetylene cutting torch job.   It was on the oxygen tank.  It is entirely possible to complete the job by having someone you thoroughly trust with quick responses use the on/off valve to keep the oxygen carefully adjusted.  I’m not recommending this, mind, but I know it’s possible because guess who got that job.

No studio, no internet but a world of drawings.  8 x 6″.  Pen, ink and pastel.

Four wheeler trail through oak ferns.



China Mieville.  The City and the City

Iain M. Banks.  Transition

Paul Auster.  Invisible

Alain Robbe-Grillet.  Two novels:  Jealousy and In the Labyrinth

Lizzy Oxby.  Extn.21

Joe Strummer and the Mescaleros.  Streetcore


The Potentially Illuminating Manuscriptopography of Camouflagae and Mimicus


This book is a compilation of quotes and deliberate misquotes put together by me using the sources named above ^.

Categories : Drawings  Mixed Media

Pierced Drawings


Pierced Drawing No. 1Pierced Drawing No.1

19 x 26″.  Pastel and ink on paper.  The first in a series of ten drawings of piercings.

Pierced PearPierced Pear

14 x 20″. Watercolor, aquarelle and colored pencils, pastel.  The last of a series of ten drawings with piercings.  I don’t know what inspired me to do the first few pierced drawings nor have I thought of anything clever to say about them post production.  Toward the end of the series I started poking the stainless steel ball piercing into anything sitting around simply for the absurdity and ended up with the Pierced Pear.

“I just don’t want to die without a few scars, I say. It’s nothing any more to have a beautiful stock body. You see those cars that are completely stock cherry, right out of a dealer’s showroom in 1955, I always think, what a waste.” Tyler Durden (Chuck Palahniuk), Fight Club

Late Night Cut/Paste


Late Night Cut/PasteLate Night Cut/Paste

40 x 30″.  Pastel and ink on Masonite.  Inspired by too many late nights with graphics programs.

Chaos reigns within.
Reflect, repent, and reboot.
Order shall return.

~Suzie Wagner, 1998

Categories : Drawings
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Week 4: Linear Perspective. Cartoon/Comics. Out of Class Drawing.


Time: 12 hours  Paper: Strathmore illustration board, 40 x 30″  Media:  Rostow and Jung Akua Kolor slow drying black ink and white acrylic  Actuals: my studio:

Process: Unreal amount of time going up and down ladders balancing a big piece of board and Rotring Art Pen loaded with gray ink for initial layout.   After researching noir comics, I decided to melodramatize perspective, adding a stair, changing floor tile size, increasing proportional ratios which led to a rather a messy layout as I use only permanent drawing media, no pencils, for reasons too lengthy and vitriolic on my part  to go into here.

At this point, according to How To Draw Noir Comics by Shawn Martinbrough, the image is to be Xeroxed several times for working out where to put the black before inking the actual.  This would probably work on a smaller drawing but reducing my 40 x 30″ to even an 11 x 14″ digital print turned the lines to mush.  So I just dove in with a light gray ink wash until it looked all right.  So much for process.  I’d say about half my initial lines, about half the effort I put into it ended up under several coats of black ink or several coats of  white acrylic:  seven wolves were reduced to two, I had a really cool floor tile reflection going on in the window that had to go,  the bird in flight looked like it was hanging from a light fixture, not flying around it, so one of my light fixtures also bit the dust.  On and on.   Most disconcerting was that even at 40 x 30, even in a glorified negative space drawing, one false step with the brush and motorcycle helmets became a pile of rags, ravens turned into sparrows (oh well, ravens are so overused anyway) or wolves in the snow became floundering Dachshunds.  I never did get past gray scaling to black and white in the purist sense either:  see detail below.  Nevertheless it was a rather special week seeing everything as a Noir Comic and realizing the enormous potential of this assignment in effective linear perspective.

Week 4: Sketchbook


I was inspired by the dramatic linear perspective effects of Noir Comics.   Decided to try out some of the methods using the marvelous and challenging angles of my studio.  Preliminary sketch:

Week 4: Research Project: Cartoon/Comics


This assignment was inspired by a drawing by Jamie Smith, a copy of which currently graces my home.  It led me to reevaluate the use of linear perspective in terms of cartoons and comics.   Hours of research has led me to believe that there are few art genres beyond cartoonists and comic artists who understand the magic, effectiveness and drama of linear perspective.

Websites: Jamie Smith’s blog:  http://inksnow.blogspot.com/ and one of my long time favorite mangas by Tsutomu Nihei http://www.onemanga.com/BLAME/

Descriptive Words Cartoon/Comics:  narrative, mass publication format, sequential,word balloons, panels, graphic design, stylistic, iconography, layout, illustration

Categories : Drawings

Week 3: Value Study. Geek, Biomech and the Post Apocalyptic. Out of Class Drawing.


What is this?  What I am seeing?  What does it mean? Ooooh.  For more information, see the Week 3 Sketchbook entry on this blog.

Time: 6 hours.  Paper:  Sennelier pastel card.  19 x 26″.  Media:  Black, white and gray pastel.  Actuals: a standard laptop run amok on MS Vista and a bonsai root trained on a circuit board:

Process: I love drawing on pastel card, basically like drawing on sand paper. It allows for many clean layers of pastel.  If only it came in 54″  x 10 yard rolls.  First layer:

Second layer.  Drawing from bonsai, overemphasizing the circuit board and linear perspective because I liked it that way:

Third layer.  Printed out bits of my Perl program (CTRL + PRTSC) graphically enhanced,  (Print Mask for GIMPs).  Pastel on back of print, then traced with ball point.