Sensitive White Boy Syndrome
Sin City Gallery, Las Vegas, NV 2017 

paintings, drawings, collages

A man who finds himself among others is irritated because he 
does not know why he is not one of the others. In bed next to
a girl he loves, he forgets that he does not know why he is 
himself instead of the body he touches. Without knowing it, he
suffers from the mental darkness that keeps him from scream-
ing that he himself is the girl who forgets his presence while 
shuddering in his arms. 
–Georges Bataille

I’ve been thinking quite a bit about my own ignorance 
and insensitivity concerning interactions with people 
in my life. Politics have given rise to this focus 
recently. As an artist working in a narrative and 
figurative format, I feel my own interpretations of 
image and their depictions shifting and changing. With 
wishes for my own increased sensitivity and recogni-
tion come more openings for transgression to seep in. 
I feel art must be examples of truth beyond statements. 
Questioning of life as guided by the heart and soul 
are beacons. Hopefully passion can still 
exist however numbed by guilt one becomes.

In Terry Gilliam’s Brazil: bombs explode within a 
restaurant where well-to-do affluent people gather to 
eat and flatter one another with words of inflation 
about their youthful surgeries and trendy fashion ex-
penses. Fire, smoke, shrapnel, nothing fazes these 
purple poodles of an elite class because they are of 
a stature and class untouchable.
My petition is to remain in the studio asking 
questions even if there are no obvious answers.       
For many years now I have been referencing the same 
compilation of erotic drawings and etchings by The 
Marquis Von Bayros. I have been combining and 
morphing this imagery to undermine the overt hetero-
erotic nature of this beautifully patterned imagery. 
Within the works’ narratives already exists youthful 
curiosity to sexual experimentation as well as sub-
missive and dominant roll playing between women, 
women and men, albeit under the harsh gaze of the 
male. By changing the gender identification of sub-
jects I am able to exaggeratedly promote further 
transgressions (homo- and pan- sexuality; castration, 
death and rebirth, spirituality, laughter…) for the 
purpose of addressing erotic feelings within the 
viewer that he/she might feel to be exposed or 
I look at these same images now, remembering Brazil, 
with a newfound avenue for transgression concerning 
ownership of place and things. The opulence of Von 
Bayros’ rococo environments cannot go unnoticed. 
Playful actions takes place across manicured lawns 
atop fountains that become sexually aroused them-
selves, and within interiors filled with scrolling 
gilded frames, delicate linens and a plethora of 
flowing detailed patterned fabrics, strands of hair 
become their own intricate pattern work. Now I see 
these images of place as luxury and status of 
pillaged ignorance. In these new works I have a 
heightened awareness that freedom for self-
expression/exploration need not require a place of 
safe opulence.
These are shifts in awareness that embolden ex-
pression to flourish and freedom to question the 
acceptance of self and others. These depictions make 
more public what happens in private.  
For the first time in over 15 years I now live in a 
more conventional house in Joshua Tree, having left 
the urban live/work industrial warehouse I had be-
come accustomed to. Because of this, these newer 
pieces take on new meaning simply in their size. 
They are not intimate drawings in a book, nor are 
they large bold statements that demand all attention 
in the room. Having new living quarters, I now under-
stand that everyday living with more modest-sized 
glimpses into these alter-realities can provide more 
intimacy for engagement by the viewer. It can be a 
piece that can be glanced upon and pondered as I 
brush my teeth or simply walk from one room to 
another within a coexistence. As well, these new 
pieces can speak to one viewer at a time and offer 
insights more direct and personal.
I explore this in drawings with more elaborate de-
corative frames to mimic actions internally to then 
exude that sense of place within the reality of the 
place and room it exists. Collages on wood without 
such frames explore similar hybrids of themes using 
adult magazines joined together with sewn thread 
lines of color with a more haphazard sense of 
fleeting impermanence.
We are entering a time when more personal examples 
are to be shared as ways for people to persist to 
endure. In this place we are entering we plant 
truths that will be celebrated, tolerated and 
provide foundation like magnificent trees of a 
forest. For my part, I simply share entrance into 
my own germinating garden. And ultimately for the 
first time in my life as I write these words, I 
realize myself and my artwork have always been 
with one foot kicking in the church’s door and the 
other full-on shit in the gutter.
A kiss is the beginning of cannibalism. 
–Georges Bataille

The Book Under the Pillow, 2017
oil, graphite, spray paint, plaster, Plexiglas on wood with gilded frames
31.5 x 24.5 x 6 inches

Pink's Reflection, 2017
oil, graphite, spray paint, plaster, Plexiglas on wood with gilded frames
26 x 30 x 5 inches
Pink's Reflection DETAIL
The Little Death Mask, 2017
oil, graphite, colored-pencil, spray paint, plaster, 
Plexiglas on wood with gilded frames
26 x 30 x 3 inches

Olympia's Turn, 2017
oil, graphite, spray paint on wood with gilded frames
26 x 30 x 5 inches

Black Betty at the Beach, 2017
mixed media on wood with neon
48 x 44 x 11 inches
Heavy Flow, 2017
mixed media on wood with mirror
51 x 36 x 12 inches

Land Shark Pops, 2016
mixed media collage on wood
13 x 13 inches

Hung, 2016
mixed media collage on wood
15 x 15 inches

Let Them Eat Cake, 2016
mixed media collage on wood
11 x 8 inches
Exotic Birds and Fruit, 2016
mixed media collage on wood
12 x 12 inches