Biosphere 2, 2014:
Untitled, stencil on painted board, 90x40":
Galveston Artist Residency exhibition, Texas, 2014:
Untitled, photographs and text on felt-covered board, 90x30":
Text from Biospherans:
Our petrochemical industry is built on the backs of dead creatures squashed and heated by geological processes. That we believe we can alter our environment to the point of near extinction does not prove us separate from nature – we are not gods, but another natural event altering the environment as life has done for billions of years. We can be catastrophically dumb, but we can also be noble and intelligent. We have a choice.
I never stole anything from the fridge, anyone else’s leftovers, or the captain’s birthday cake.
I felt the air would ignite, explode into flames with the spontaneous combustion of so much suppressed anger. I would look up as I walked to make sure no one lurked above with a heavy object to accidentally drop on my head. The place no longer resembled a desert at all. It had transformed into a coastal sage scrub, the kind one sees in areas that have been disturbed by humans- shrubby, overgrown and shabby. In our attempt to create a desert we had created the very thing that ecological purists would consider a blight on the landscape – a disturbed ecosystem.
I felt the air would ignite, explode into flames with the spontaneous combustion of so much suppressed anger. I would look up as I walked to make sure no one lurked above with a heavy object to accidentally drop on my head. The place no longer resembled a desert at all. It had transformed into a coastal sage scrub, the kind one sees in areas that have been disturbed by humans- shrubby, overgrown and shabby. In our attempt to create a desert we had created the very thing that ecological purists would consider a blight on the landscape – a disturbed ecosystem.
Abandoned Greenhouse, gouache on paper, 10x10":
Gouaches on paper:
Interfaith Center, 2006:
Schroeder Romero gallery exhibition:
Pulpit, mdf, blanket, wig:
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selected text from Interfaith Center windows:
Look around and see how we live here. Then maybe you will understand why there are always volunteers for martyrdom. Every good Muslim knows it is better to die fighting than to live without hope.
There is a counterculture quality to this moment. Shabbat is the antidote to popular culture. It is designed to make you think, to fight the forces of materialism, selfishness, acquisition, competitiveness, self-gratification and entitlement.
I have spent a lot of time thinking about death. It is up close and personal. Life is really a blink. We are all very, very vulnerable. I want to live a more mindful life.
There is a counterculture quality to this moment. Shabbat is the antidote to popular culture. It is designed to make you think, to fight the forces of materialism, selfishness, acquisition, competitiveness, self-gratification and entitlement.
I have spent a lot of time thinking about death. It is up close and personal. Life is really a blink. We are all very, very vulnerable. I want to live a more mindful life.
Megachurches, gouache on paper, 30x22" ea:
USTrust, 2008:
Relationship Manager, Heist, Schroeder Romero Gallery, 2008:
Poster, Relationship Manager, Schroeder Romero gallery, Chelsea, NYC, 2008:
Disclaimer, text included in small font at bottom of poster:
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Disclaimer, text included in small font at bottom of poster:
Leisure Management Corporation, 2003:
Maintenance, light box, door:
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LMC posters, flocked silkscreen on paper in lighted case with placards:
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Placard text from Human Resources handbook:
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HR, still from video combining HR video and pornography audio:
Reception, rear view, Formica, Plexiglas, cardboard, wig, bedding, office chair, telephone, red light:
Travel Agents, 2005:
Travel Agents exhibition, Schroeder Romero gallery, Brooklyn:
Detail, under desk, soil, plastic vines, fabric, fluorescent light, 80x30x30":
Africa US Operations, posters on felt-covered board, 40x90":
Southeast Asia US Operations, posters on felt-covered board, 40x50":
Postcards from Travel Agents, photographs and colored paper on felt-covered boards, 40x30" ea:
Selected texts from post card boards included in Travel Agents exhibition:
It smells like earth. Whenever I smell this, it reminds me of dead people. Think about it. Millions of people have died on this earth and become part of it. Their bodies are part of the land, the earth we are breathing.
Well, we’ve killed all the old men and women. But there’s still a lot of kids down there. You know, a lot of those kids are really good-looking, really cute. Maybe we can keep some of them, you know– take them with us.
There was no getting around it. The skeleton is a beautiful thing. The randomness of the fallen forms, the strange tranquility of their rude exposure, the arm bent in some uninterpretable gesture there– these things were beautiful.
Well, we’ve killed all the old men and women. But there’s still a lot of kids down there. You know, a lot of those kids are really good-looking, really cute. Maybe we can keep some of them, you know– take them with us.
There was no getting around it. The skeleton is a beautiful thing. The randomness of the fallen forms, the strange tranquility of their rude exposure, the arm bent in some uninterpretable gesture there– these things were beautiful.
Candy Factory, 2000:
Living Room, light box image behind Plexiglas-mounted image installed flush to wall:
Untitled, silkscreen on canvas, 30x24":
Team gallery exhibition, Chelsea, NYC, 2000, Candy Factory mirror with sugar-coated cube sugar-coated styrofoam cubes, Floor Work carpet, pedestal/mirror display component with Candy Factory mugs, sugar candy, T-shirts, and silkscreen on canvas :
Untitled, sugar, silkscreen on canvas, 90x72":
Candy Factory exhibition, Team Gallery, Chelsea, NYC with sugar paintings and Homeless(center) viewed from back:
Interior light box image, Homeless:
Untitled, sugar, silkscreen on canvas, 90x72":
Sugar tunnel with lightboxes, Team Gallery exhibition, Chelsea, NYC, 2000:
Untitled, silkscreen on canvas, 30x24":
Reunion Profile 5 and 6, silkscreen on linen, 40x30", ca. 1990:
Embassy Bombing, graphite on paper, 22x30", ca. 1992:
Veiled Figure, graphite on paper, 22x30", ca. 1992:
Jerusalem Bombing, graphite on paper, 22x30", ca. 1992:
Dublin Car Bomb, graphite on paper, 22x30", ca. 1992:
Bombed Cars, graphite on paper, 22x30", ca. 1992:
Bombed Landscape, graphite on paper, 22x30", ca. 1992:
Cabbage, pencil on paper, 22x30", ca. 1992:
