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Installation project: La Liga De Mentirosos

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La Liga De Mentirosos: Mixed media. 8' x 8' x 24"
                               $25,000

As part of the trip to Greece in 2017, I  volunteered to teach art to refugees with an NGO on the island of Lesvos. There were two programs offered. One was a drawing class that taught how to deal with the human figure in three dimensional space. The other was a class on photography basics using the common cell phone.
 
 
 
 
 
 
 
           Photo class                                                     Drawing class                                                Student photo exhibit
 In between lesson planning and teaching, the staff would engage in daily household upkeep projects. One project was to try and beautify a delinquent yard in the back of the office space so that it could be used for gatherings as the weather improved. While cleaning up the debris, I found a very old soccer ball behind a pile of wood. It immediately caught my eye as a "thing". There was a middle school on the other side of the high stone wall surrounding the backyard. Some kids must have been playing during recess and kicked the ball over the wall, out of reach, and it had laid there for years judging from the shape it was in. It was definitely a "thing" for the collection. I snatched the old ball up and mailed it back to the US.
 
 
 
 
 
 
 
 
 The Greek community, like many in the world, is obsessed with soccer. One couldn't enter a restaurant, pub, or coffee house without having nonstop soccer games being televised. If there wasn't a game being played in real-time, nonstop highlights of games were streamed on a soccer sports channel.

Toward the conclusion of the of the Muller investigations that started May 2017 and ended March 22 2019, evidence gathered showed that President Trump had amassed a band of cheats and liars around him and they seemed to be playing a dangerous game of undermining democracy. Some were indicted and sentenced for their lying and breaking the law, while covering up evidence that the Trump campaign had facilitated Russian interference. The result was that 34 individuals were officially charged along with 3 companies. There were an additional 8 guilty pleas submitted in the courts, as well as the impeachment of Donald Trump in the house of Representatives.








By New Years 2019, I was planning a return to Lesvos to volunteer for a Swiss NGO teaching swimming and assisting with a basketball camp for refugees.  I had a few months of looking at the old soccer ball in the studio remembering watching  televised games in Greece. My creative thinking side began to visualize a soccer league as a signifier for Trump's dangerous game and his circle of loyal fanatics.  I thought of ways in which a soccer league might function to transcend its signifier and be deconstructed to symbolize human culture. As the game was bisected into its separate parts, a couple of pieces rose above the rest. The ball remained at the center of the process; But a powerful icon of the soccer experience is the team scarf. Every soccer team has a "team scarf". A MAGA baseball hat was like a soccer team scarf. It had to be worn as an affirmation of team loyalty. Every team scarf has a unique design; but they all have allegiance to their league. The scarf is the essential  soccer icon. I began to work out how it could function as part of the installation representing fanatic loyalty.








 
By settling on a general focus for the work, it became clear that actual scarves would have to be created and I would have to make them. I was within a month of flying to Greece and was cramped for time. A small loom was purchased online and mailed direct to the residence on Lesvos where I would be staying. It was a good plan because there was plenty of free time to work, yarn was inexpensive there, and I would need quiet time to learn the weaving process. When I got started, it was clear that weaving words into a scarf was a huge technical challenge. To ease the anxiety of not being a "weaver", I adopted an expression from the "Salon De Refuse" days that stated, "today's artist doesn't say come and see my perfection, they say come and see my sincerity". Four scarves had been completed when I left Greece.

Back home in the studio on June 6 2019, I began to work out a function with the scarves while completing and crating up the "No Collusion" work to free up space. Both the scarves and the old ball would be the work and it was quickly understood that more scarves would be needed. The loom had been left in Greece, so another was ordered and production resumed. I arrived at a title while setting up the loom for the fifth scarf. Reminiscing over my time in Greece, there was one sports channel that, after every commercial, would remind the viewing fans that they were watching "La Liga soccer network" which became the title of the work after adding Mentirosos, the Spanish word for "liars".
Resolution of the soccer ball came together around the close of 2019 when recalling the game day ritual of a "La Liga" soccer match. A match started with players entering the "pitch" single file, each player holding the hand of a youth league soccer player. As they proceeded through the stadium tunnel, they would pass by a wooden pedestal with the league logo on its side. The game ball would be resting on top it. Following the players entry came the referees. As the head referee past by the wooden pedestal, he would pick up the game ball and proceed to the center of the "pitch" in preparation to start the game play.
In using the ball and pedestal to symbolize the game, the idea being that they both represented a set of rules and standards that all teams pledged allegiance to in order to play in league games. Later adding the Trump logo to the pedestal,  four T's resembling a swastika represented that this was the Trump league and in order to play, it would be by his rules. At that moment in the Trump administration, the media, pundits, and scholars started to openly accuse him of employing strategies used from the fascist play book . I also felt the ball's condition, deflated and rotting with some of the leather pentagons pealing off, fit perfectly into work as it progressed. I felt Donald Trump was trying to dredge up the past playing with voters sense of nostalgia to build a fan base. The game was a league of liars using an outdated ball that was incapable of being used in postmodern game play. Symbolically,  I gave the ball a thin new coat of  black and white paint. Like one would do with an old house being readied to sell.
During the end of the 2020 election and in the last two months, it has become clear that America is split. There are those who are trying to disregard the constitution in favor of a "because I said so" interpretation of leadership. They seem ready to accept the notion that the Constitution is not the rule of law but "more as set of flexible guidelines" open to personal interpretation. It has changed the initial intent of this work. It now includes the idea that there are those who long for a game from the past and are willing to use any means to reclaim that past at what ever the cost. Even at the risk of loosing relevance based upon the needs of a thriving American culture that is inclusive.






 

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 This series began as a philosophical thought process in the late 70's and as time passed the curiosity over its meaning kept evolving and developing. It wasn't until the 80's after earning a MFA at City University in NYC that I had time to read more and explore some of the important thinking that was going on around the English speaking community of thinkers. While keeping a working studio on the Bowery, My reading collided into an argument between two intellectual camps known and the French School and the Yale School. They were involved in a deep argument over what each felt was the rudimentary sign of intelligent humanity. The French School claimed that it had to be LOGOS/the word since without it humanity couldn't communicate and cooperated effectively to survive. The Yale school claimed that the essential sign of intelligent humanity was PHONOS/the sound because sound and listening precluded language. 
The supporting argument of the French School made these claims. 1. LOGOS had its initial beginning as a scratch. The scratch referred to  a mark made on a surface. Their argument stated that the "scratch", in its nascent form was created by creatures on the surface of their environments as a way of getting from one beneficial place to the next. As time went on, and more scratches/trails were created around the various lands, it became clear that one had to learn the scratch/trails as a form of survival. Knowing which scratch led to drinking water and which led to the saber tooth den was a process that had to be learned. As such, the beginnings of human coordination was used as a tool for community. On the other hand, the Yale School countered with an equally valid proposition. They claimed that PHONOS was the beginning of human community because survival on any type of terrain in the beginning depended on human's ability to listen to the sounds of the environment and be able to distinguish what each sound ment and how to respond. Thus, each kind of sound carried a message that needed to be correctly responded to. According to the Yale School, It was through the process learning the sounds of the land, humanity developed an vocabulary that evolved into speaking. Therefore PHONOS was the beginning of us all.
This argument had a huge impact on how I looked at existence and I put a great deal of thought into it as well as struggled with the notion over quite a few cold beers. The question I had was, how does that effect me and my creative process or does it have any relevance? As a romantic, I felt the need to connect with a cause or "raison d'être". I chose LOGOS. As crazy as it sounds, I connected with the word scratch. As an artist or any artist that has claimed to be so, can easily identify "the scratch" as an essential and almost primal act of making art. To lay charcoal to paper and feel it interacting with the tooth of the paper with the intent of visually saying something to others feels like early humanity creating scratches in the earth that say, "This way to the swim hole and that way to the berry bushes. Just like my scratches on canvas intend to tell a story, those trails also told stories to those who took the time to read them. 
In this series I am interested in the idea that LOGOS transcends the written word because it is also a visual phenomena. Because a word, when printed, has both meaning and can be seen it has a dual purpose. This investigation is curious about adding a third possibility as a visual. I am asking my creative process to see if I can take simple words and create a visual plane that can be read as a word with specific meaning, use the word repetitively in such a way that its interactions cause intense design dynamics that render it for its visual appearance, and finally the words chosen, being void of sentence structure, actually tell a story for the viewer. 



  

MAGAZINE TITLE

Gnome Sequence:  series 2022

Portrait

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Acrylic on canvas 20" x 36"

AGAZINE TITLE

This was a work that was tied to the Democracy Project and was a transition away from a focus on the social chaos of American social disorder. While working out ideas for the base of the installation "Archeology of the Top 10%" I became fascinated with the visual power the word grid and its visual chaos. As the work on "Portrait" progressed, the word chaos worked its way into the composition and eventually overtook all other considerations that I had been thinking about. The work "MAGA Ghost Flag" began the "Democracy Project" series and it turned out that a flag ended the series. In the new sereies, the core creative element was how to focus on words, It became essential that the choice of words was crucial. The first three words chosen were: USA, Pledge (as in "I pledge allegiance"), and People (as in "We The People"). When the January 6th assault on the White House occurred and the investigation/testimony of Capitol Hill officers was broadcast, the words of officer Michael Fanone "Get his gun, and Kill him with his own gun" were blended into the composition. It expressed the intense contrast between a timeless ideal and the in the moment reality of American society. 

TRUTH #1

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Black impasto acrylic paint on upstretched cotton canvas, 56"x 26", 2023

Having transitioned away from the "Democracy Project", one word stuck with me and I decided to make an image using the word "Truth" in three different font sizes to create a visual texture with the interplay of the fonts competing for visual space. Once all of the lettering had been penciled onto the canvas, I began to understand where all of the visual chaos was coming from. There were two factors at play. First was the negative space behind all of the lettering and second factor were in the class of letters fighting for visual space. Because each font size was applied to the canvas in grid form there was uniformity to the font size. But when other fonts were applied in similar grid form a form of visual chaos appeared on the picture plane. The chaos appeared all over the canvas creating a kind of temporal confusion of the brain when looking at the work. That part of the brain that deals with visual interpretation was working overtime trying to make sense of the chaos. As cognitive beings, we aren't necessarily aware of that process as it is connected to the "fight or flight". Since there is no threat, the brain doesn't activate the limbic system. It might even be a pleasant experience for the brain to be in that state. I began to call these places in the image  where the letters fight for visual space "micro conflicts" and there were thousands of these places where the letters of one font partially obscured the letters of a different font  as the brain tries to order and "read" the words. 

   Evaldi

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Acrylic on canvas32" x 44" 2021-22

While completing "Truth", I was intrigued by the texture that was coming from all of the chaos and decided to make that more physical than visual. Relying upon works that were completed while working in my studio in Manhattan, I decided to use some of the texture techniques used then. As I was preparing the canvass, an incident happened in a small community in Texas called Evalde where a confused and angry young man senselessly entered an elementary school with a gun and killed 21 innocent children and adults. As the news played out over the next few days, it became clear that those individuals responsible for keeping the school grounds safe had massive failures in procedures which brought the citizens of Evalde Texas to go into the streets and protest. Their cry for justice to the politicians rushing to the scene to deliver their condolances, the news media fludding the community, the law enforcement officials, and the school administration was "Sorry Is Not Enough". Having to experience this kind of tragedy over and over in communities throughout the nation, I decided to tell this story using those words. I also decided to use only white paint as in White Wash of the pain.  

 Fence

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 Fence 30" x 37" 2022-23

While completing "Evalde", I began to think of other ways of looking at texture and text. The previous two works were in monochrome and I wanted to combine white and black paint to see how they would work. I also wanted to choose words that were broad and universal in their reading for meaning and settled on (you - me) (us - them) words as being open ended for meaning as well as relating to how difficult it is in today's world culture in managing pluralism in the masses. Additionally, I was curious about challenging a conventional technique of starting with the background and working forward. My question was, "what would happen if I started the with foreground and worked backward and approached this work with that process in mind. As I had worked all the way back to the field behind the words, I had reached the moment where a decision had to be made about what to do with it. The first thought was to paint it black and began to paint behind the letters starting at the top working my way through them to the bottom of the canvas. It was a slow and painstaking process that took a great deal of time. After about 3 days of filling in the background, I had completed just about the top half of the work with a slight diagonal running down to the right. I stopped painting and looked at the black diagonal for 3 or more days. Something was telling me to look at the canvas. Finally, I began to see two interesting possibilities in the work. One was that the black background began to look like the Silhouette of a mountain scape. The second was that the words began to appear as though it was a chain link fence. I went with that thought and began to make the changes that would bring out those possibilities. I accentuated the words and their diagonals to subtly suggest a fence and I made the mountain scape much more craggy. I was seeing  this work was an allegory for the possibility of a changing world order based upon multiethnic diversity being held back by their inability to understand and tolerate diversity from redefining the landscape 

More

More

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 More 47" x 59" 2023-24

As the background was being worked out on "Fence", a new canvas was being prepared. I was curious to see how would words and micro conflicts work at a larger scale? Would larger lettering actually have the same chaotic visual energy or would it have a different energy? Second was the continued interest in the idea that the purpose of words is having meaning and by extension, printed words as have visual authority to the reader and I wanted to expand on that. While going through the canvas prep process there was a horrific human crisis going on in the world. First was the invasion of Russia into the Ukraine and the second was the Israeli leadership laying siege on Palestine. It seemed that as each week pressed on, the atrocities in both confrontations became more and more tragic. After giving a great deal of thought to these events, it was decided to focus this canvas on these human crises.
To address the Russian situation I chose two words,  "Убийство", meaning to kill and the word, "Отбраковывать", meaning to cull. In my mind Putin's war goals were two fold. One was to take over Ukraine and make it Russian by using lethal force and the second was to empty his prisons, gather up Russian rabble, send them into the front lines and cull his population of deadbeats.
In choosing two works to represent what many around the world could identify as being an accurate appraisal of Israeli goals I chose the Yiddish words, "ויסמעקן", meaning to eradicate and the second word, "פאַרניכטן", meaning to exterminate. I also included the word "Kill". All of the words were individually arranged into grids with diagonal offsets and font sizes across the canvas. Then the offsets were treated with additional rhythm structures achieving additional visual chaos push pull in the picture plane. I was looking for a different visual chaos as the previous works done so far and to explore if different language structured words worked as micro conflicts and their ability to be read for meaning.

3 Degrees 

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Acrylic paint and charcoal on upstretched cotton canvas, 74"x 60", 2024

3-Degrees ( rectangle detail)

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While applying the fine tuning to "More", there was a flurry of emotionally cruel discussions happening in the media that seemed to be focused on the fact that America was being "invaded" by immigrant murders and rapists. Surrounding this issue was a handful of other issues like government spending, inappropriate  public education, and individual lifestyles. I decided to use this aggressive dialogue as subject matter for the next investigation. I also wanted to explore the lettering font even larger to see how it worked. Another goal was to present the layering of words in a different way by adding another repetitive element. While sizing and mounting the canvas, and getting ready to apply the rabbit skin glue and gesso I was curious about the standard process one goes through in order to prepare to apply an image which is to stretch the canvas, apply the glue, and then gesso the surface enough to get the kind of smoothness wanted the imaging process. I took a different route/process just to see if it would effect the final image. Therefore I began with the raw canvas and applied the pencil drawing of all the lettering first. Then the clear synthetic barrier was applied over the drawing. Then each individual area (background, lettering) gesso was applied which turned out to be a very laborious and slow process. 

    In applying the drawing, there were two technical goals. First was to take the  font grids and apply them in a 3 degree angle. The first grid to the left, and the second  grid 3 degrees to the right with the third grid being horizontal. The words chosen to be incorporated into the work were (Hate, Angry, Tolerance, Knowledge). In working out the design aspects, the story being told became the influence on how everything would be arranged. From years of teaching high school students with learning behavioral challenges, I had developed a philosophy that the humanity of any culture has to acknowledge that everyone has within them the capacity to be angry and be hateful. Through  generations, cultures pass on civility as being the social standard. The strength of a culture depends on how well everyone keeps hate and anger compartmentalized and controlled through having the ability to show tolerance over the those external forces that are not understood. The way  tolerance is sustained is through the passing on of core knowledge that prepares individuals to function with stern compassion for the good of the culture.
    As I arranged the words to be used supporting the notion suggesting something has gone terribly wrong with keeping hate and anger in check and it was making its way to the surface to alter the stability of the culture, I began to work out the positive/negative space dynamics. It was decided to put the word grid "hate" and "angry" into a 3:1 height/width rectangle to separate it from the other two words. Before working the canvas, I was thinking, "convention says that I start with a finished gessoed canvas, apply the drawing, and apply paint starting at the background and paint my way forward as an established process. Curiously I asked what would happen if I began  the front image and worked my way to the back image which I decided to do. First was to gesso the lettering on "Knowledge" in flat black gesso. Before that I took charcoal stick and traced over the words hate and angry inside the rectangles thinking they would be painted later. When I got to the  Tolerance grid there was a pause. While standing back to asses the how it was going visually, I began to like the idea that the raw canvas added an additional visual element to the work. I left the Tolerance grid bare and painted the background in black gesso. After completing that stage of the work, I began to see things in the canvass that stood out and needed to be resolved. First issue was that I have areas of blank canvass that hadn't been gessoed. There was the rectangle grid with the hate/angry grid inside it. I decided to paint the backgrounds of the rectangles in white gesso but thought it would be interesting to leave the charcoal lettering of the hate/angry grid alone.  By this time the idea of raw canvas being an integral element in the composition was a good decision. I felt it enhanced the overall visual and it would give viewers something to consider when looking up close at the work as part of the visual experience.
    With that stage completed, it was time to attend to how I could go beyond the micro conflicts and create texture to the work. It was decided to use the three states of paint (flat, satin, gloss) to see if manipulated, would create an kind of subtle texture that would be visually interesting. I also used layers of clear gloss acrylic in places to amplify the contrast. This took a great deal of effort and a number of layers were needed to reach a point that looked right. As this process was painstakingly being layered on, the presidential campaign was going full blast in the media and the dialogue coming from many sides was reaching extreme levels of vitriol and hate and accusation. I began to think that my original idea of compartmentalized antisocial behavior was beginning to break through civil rational idea exchange to the point that it was controlling the tone of social narrative pitting neighbor against neighbor. As a result I decided to take three of rectangles and pull them out of the background and physically extend them in space in front of the canvas as being symbolic of what was happening to the American story in real-time. The title for this artwork comes from a concept that was acquired as an education administrator. A presenter, at a training I attended, was introducing the idea how little changes can create massive change using the analogy that it only takes 1 degree Fahrenheit to convert hot water to the boiling point steam and how it relates to maintaining a positive learning environment. In this work, as each grid is tilted 3 degrees to the left and right, their actions tend to visually cancel each other and each grid looks horizontal. They balance each other out; but if something upsets that balance, like three small elements that are intended to challenge the balance, what will happen? That is the story of "3 Degrees".

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