This all started from a question last night at an LA bar. "What's next for your work?" (FML I thought) "..Imma have to get back you on that one."

I haven’t posted a picture in nearly a year. To look at the past, lets see me as I am now. Apparently I chose a gaudy mirror pic where I look like the connect in a 2000's crime flick. But everything is different now. Things have changed. I’m different now. Clearly. I’m wearing velour.

“God, it's such a drag when you live in the past.”

Tom Petty

Well, yeah. It is.

I thought it all started with Broken Banknote. Those paintings live in the past. Everything a Broken Banknote painting documents, has already happened. Usually quite some time ago. At least this time allows the subjects to be researched and have scholarly reviews and publications, backing up the narratives. I don’t just make that shit up. Those paintings are rooted in fact and deep social history. One of the most compelling parts of the BBN series is the use of actual, obsolete, once circulated paper currency. But again. It’s all from the past.

I’ve said this before: I don’t like action from incomplete data. To a large degree, EVERY story I’m telling is historical in nature and thus has a large amount of data to create from. However, I did some reflecting and discovered a lot of the work is based in the past. It wasn’t just the BBN series.

The American Man triptych is based on 1970s Playboy magazines.
Dannark and the peices around it, created nearly 20 years ago, are based on a found Danish stamp from the 1950s. That stamp happened to be wedged in a 40 year old book, once owned by my grandmother. That's the past on top of the past with a past cherry on top.
Unicorns while brand new, still lives in the past. Its concept is based around text messages, from past women, put into oil paint. So ...more past, cloaked in modernity through presentation, while using past references to tell a story that can only live in the form of yesterday.
I mean …really? It’s starting to feel like a weird loop. Of rope to go around my neck.

There seems to be a constant look backwards. Rear view mirror living. When I was young, this look was a mere glance. Today it’s a long stare through squinted eyes. As if it gets better the harder I look. It don’t. The thing is, loss, regret, decisions made or not made. Choices. They all add up. How and why you tell that story is where the art may live.

I know. It's getting long winded. I had a point. What's next? I can write this: Less didactic work. Less relational to historical events. More inward in approach, while trying to drop the baggage of the past. I have said for years I paint to stop time. It’s time to let that go.

How about more multi disciplinary work? Sound projects, structural and dimensional presentations, beyond flat surfaces. Smaller, simpler items, like one-off wearables. I do feel like the underpinnings and display of Unicorns has enough interest to build a series around. Maybe minus all the past references.

In the end, you gotta dance with the one that brung you. No way can I completely shed the look back nature of my work. However, for my sanity, I gotta try. As for the "connect" track suit look ...At least it's not from my past.