The Star Planters

Oil and metal leaf on canvas, 58”x78”
Out of the Big Bang, dualistic constellations emerge: the hero and the apocalyptic antihero, technology and nature, science fiction and historical fact. Fusing Tibetian Thangka painting, cowboy poetry and the scientific origin story, this painting represents the origin myth of religious scientism in the West.

The Recovery of Reason After the Fall of Eden

Oil on canvas, 56” x 60”
The relationship between western religion and the environment has been one of control and domination. Science was developed from these religious views, but has grown into its own belief system in the popular imagination. This painting is an allegory of the contentious battle between science and religion. It presents the destruction of the environment as the new archetype of the apocalypse.

The Decolonization of Reason

Oil on canvas 59”x 44”
Mixing images from both Eastern and Western cultures, this work symbolizes the epic and eternal battle between belief systems. In some Asian cultures, the dragon is seen as a powerful mystical creature. In China, it is the symbol of the emperor. In the West, it represents an evil to be conquered. The title refers to how the West has used logic and reason as the paradigmatic foundation to all knowledge of truth (a patronizing position that by default suggests the East is more primitive and less intellectually evolved).

Every Act of Creation is an Act of Destruction

Oil on canvas 72”x48”
Based on the painting “Virgin of the Rocks” by Leonardo Da Vinci, this painting addresses how Environmentalism has become the apocalyptic archetype for an emerging, quasi-scientific belief system in mainstream culture. A belief system that transcends national and cultural boundaries.

Dust of Apricot

Watercolor, casein and metal leaf on panel, 36” x 48”
The title refers to a Japanese book published in 1803 “Ume No Chiri (Dust of Apricot).” The book contains an illustration and description of an object that washed ashore “made of iron and glass with strange writings inside the ship.” UFOlogists claim this to be proof of extraterrestrial visitation. This painting is about the conflict between the belief systems of religion, technology, magic, and science to control the narrative of history.

Beauty Hath Deceived Thee and Lust Hath Perverted Thy Heart

Oil on canvas, 48” x 60”
Susanna and the Elders was a common artistic theme in the sixteenth through the eighteenth centuries allowing painters to paint erotic scenes without condemnation from the authorities. The lecherous elders in this version are replaced by satellites, symbols of scientific advancement as well as surveillance. Susanna is depicted by a 1940’s pinup-girl suggesting the history of the modern sex symbol. The title refers to the content of the painting as well as the use of beauty to seduce the viewer.