2002, my first grad school crit

2002, University of California at Davis, graduate studios common space, my first crit…this is a diagram drawn post-crit…

and a couple photos…

The weiner, the baloney, and the donut were left in a labeled paper bag in a freezer in Sacramento in the hopes that they would one day get eaten or otherwise become valuable.  Stand-ins are…here.

The head-sized/shaped object was ultimately traded away…here.

And the other object currently looks like this…here.  It got placed in Box #20…here.


2001, what got me in

Late fall, 2001, in Sacramento, California, USA, I applied to the graduate program at the University of California at Davis.  I had a set of slides shot by Izzy Schwartz…

I was accepted to the program.

Half way through the program I combined the slides, all the actual pieces in the slides, and all the support materials that were part of the application packet into 1 artwork entitled, WHAT GOT ME IN…

Currently, they are in BOX #3…here.

a trade

BEHIND AHEAD; 2002 (late); approximately 1 month’s worth of what would have been trash; approx 5″x6″x11″

After a visit to my studio in 2003 Terry Winters sent me a drawing..he had very kindly asked me during the visit if I would sell him one of my pieces…I said I don’t sell my stuff but that he could just pick one and take it and he said oh he couldn’t do that, so I suggested we trade…he chose the piece above (the one on the right) and he sent me a drawing (here).

2002, a studio

2002, art grads (10 of 16) studio building, University of California, USA…visible window locates the studio that was mine…

window, inside…


…started to sense that everything in the studio was part of one big artwork (installation), and that I would have to figure out how to control or not control it (hypercontrol vs chance became important), started relating individual artworks to other individual artworks and groupings of artworks and to furniture, tools, walls, stains, etc., dark and dank studio atmosphere encouraged feelings of claustrophobia which were released by daily long walks along a creek nearby, began to control my stuff by binding and arranging.

1998, studio

1998, studio, Florida Room, Buchanan Road, San Carlos Park, Fort Myers, Florida, USA.


Illustration fully ditched, fine art fully committed to.

Intuitively making things while very consciously determining a definition of fine art.

Shift focus from 2-d to 3-d.

Shift from consumer to non-consumer.

Overwhelming feeling of being buried by my own crap…recognition dealing with my own crap would be critical somehow in my art.

Developing views/philosophy on teaching (taught 2 classes, basic design/drawing/painting, per semester at local community college from 1996-2000).

look but do not touch

At the end of the first year of grad school at UC Davis in the summer of 2003 I changed studios, from a dark dank smallish space to a largish airy skylit space.

It was at that point that I realized I was working on an all-encompassing on-going artwork…a box was no longer only a box, a single ‘finished’ artwork was no longer just that…it all was 1 artwork made of artworks made of artworks made of artworks.

I intuitively situated all my stuff into the new space and called it an installation.  I left it that way for 24 hours with the door wide open with a sign stating ‘look, but do not touch’.  As far as I know no one saw it.