Thinking Outside the Box at the Greestone Gallery Lincoln

Andrew Bracey (foreground) and Michael Lent (Background)

Andrew Bracey

Hamish McLain

Hamish McLain

Michael Lent

Amelia Crouch

Michael Lent

Michael Lent

Andrew Bracey (foreground) and Hamish McLain & Michael Lent (Background)

Michael Lent

Hamish McLain (foreground and Andrew Bracey, Hamish McLain & Michael Lent (Background)

Michael Lent with Amelia Crouch (Background bottom left)

Thinking Outside the Box is represented in The Greestone Gallery in the Faculty of Art and Design at the University of Lincoln. The work was installed by a group of fine art students with Michael Lent and Andrew Bracey. The work is the same as was shown at the Bluecoat as part of Global Studio, but in a completely different layout that responded to student ideas.

Final Installation

Hi Everyone.

Here are the pictures from the exhibition at The Bluecoat.

Structure for the talk?

Hey everyone

Really great to see the questions coming through. It will give us something to talk about when we all meet up!

Regards the talk - yes, we should have some structure to it so it doesn't turn into a mess. i've invited a quite a few people - so if they all turn up we could have quite a big audience!

Any ideas for how to structure the talk?

Should we have someone chairing it? I didn't managed to contact anyone over reviewing it (partly short notice....A-n need a fair bit of notice to select a reviewer....and I've been dead busy) but I could try and contact someone who might want to join in the debate and chair it? maybe one of the reviewers you mentioned andrew?...someone from mancester who might be receptive to our concerns.

also, Sara the curator will be in the audience and ask some questions as well.

We'll obviously have lots to talk about, so we don't need to worry about that, it's just making sure it's kept on track. We should think about aims of the talk. what do we want to get out of it?

Sarah thought the issue of artists curating their own work (as opposed to just curators) was an interesting angle......

For me, it's about learning from other peoples approaches to making art. Sort of seeing if the issues I get wrapped up in and often get stuck with, are similar in other peoples practices, and therefore how do they deal with them....just an idea.

H

Question for Hamish

Sorry, a bit slow typing this up but I did tell you the question on the phone yesterday. So, for the benefit of everyone else my question is:

Does the place where you are from or where you live affect your artwork?

Question for Mr. Bracey

Andrew, I really enjoyed your work at the Halifax show, by the way. So I was thinking about your work, and it's sort of easier for me to talk about things like colour or material that come up in my own work. But one thing that I don't really consider often is scale. And I know you've worked with doing things on a really small scale. But I wonder about the decision making process, and in particular for the works you are making for this show. Are they a sort of direct reference to drawing on paper? And maybe you can talk about how the scale of items imposes (or doesn't) upon the space their in?

Question for Amelia

Does anything transcend language?
will say why i asked this on Monday.
i think we should talk about the talk event on Monday while installing, but we need some sort of rough structure of what we are to talk about i think or else the chances are it will be too messy.
really looking forward to seeing the work together

Question for Michael

Hi

Right, here goes. My question to you Michael is:

What draws you to working in moving image in comparison to still imagery?

Thanks!

H

Spelling it out or letting the mind wander

Hi Amelia,

Yes, you've got the idea!

I suppose I'm working with two things here, - the marks I take directly from the environment I'm in, and then the marks I create in response to that.

So far I've been layering my painted marks over the top of the drawn marks taken from the dock road. I've been aiming not to pay attention to the marks beneath (almost ignoring them in a way) so as to create a more genuine buzz between the painted parts and the drawn part underneath. In doing this I'm aiming to make a connection between the real world out there, and the abstract marks I create in the studio.

However, If I'm painting on top of something I'm bound to be influenced in some way by what's already on the paper. So I thought that If I'm wanting to make a connection between the two things, then maybe they don't have to be on top of each other at all. Instead I could show the 'real world' marks on separate sheets to my paintings.

It's still something I'm working through at the moment. It reminded me of a performance I did a few years ago in Munich where myself and another musician played improvised music in front of piece of film to do with roads and travel.

The set up for the performance we were playing to the side of the film and unable to see it. I thought this was a bad idea, as I felt the point was for us to respond to the shapes and images and colours coming through on the film.

However, our positioning actually strengthend the performance, as we could be left to our own devices and take inspiration from what's in our own minds at the time (and of we course we were thinking about the themes of the film anyway). But the fact that we couldn't see the film to respond didn't matter. The layering of the two things made independently of each other strengthend their interaction. We weren't compromising our playing and people could be left to find their own connections between the pieces - we didn't need to spell it out.

It also reminded me a of a comment Andrew made in my studio a few weeks back - that although in recent paintings I wasn't directly responding and trying to paint the environment of the docks, it was still in the 'ether'. It might sound a bit wooly or mystical, but it made a lot of

sense in what I'm doing in the studio.

Hope that answers your question Amelia. I feel it's to do with a certain editing process, about choosing when to spell it out and when to let people make up their own mind. It also links with the amount of detail that goes into specific pieces I'm working on - how representational do I need to be to be connected to a place I visited?

Question

Hi Hamish,

Just realised there was a new post from you when I posted my last one. So, to respond to that, I'm not sure I totally understand your question. Are you talking about the difference between drawing on paper whilst you are out and about and then working on top of it vs. using these marks themselves as part of the work without going over on top of them but placing them with something else (ie more worked up paintings or the photos) to complete the work instead?

It's all getting quite exciting now, seeing the work take shape. Hamish, I hope your paintings below make it in because I like them. Andrew, I can see links between what you posted initially and the sculptures taking shape - although as you say, not literal! I like the idea of them being a gesture in space.

I am thinking of printing out my text episodes on one big sheet of paper, perhaps putting a grid in the background and some lines linking the texts which might be suggestive of footpaths etc. To make people think of a map. I will be designing this tomorrow so fingers crossed it will work! Then next to this I will have some (2 or 3?) blocks of photographs of different landscapes. I'm not quite sure how these will be placed in relation to the texts yet.





My other question at the moment is, how are we going to structure the talk event? Do we just want to improvise, is someone going to chair it? Do we want to think about certain things in advance?

Hiya,

In the studio at the moment. I've been painting for most of the day, so I thought I'd take a break and write some things down.

I took a walk last week along the route where I rode my bike a few weeks before. I took lots more photos than when on my bike! The sun was out so there was good light for taking photos (still on my camera phone, though I kind of like the smallness of it).

Alongside taking photos of my surroundings, I also took a sketch book with me. I wanted to somehow transfer real marks on to the paper, from the environment I'm in. This way When I come to paint and draw on the sheets, there's already some life on them.

It's to do with reacting to something, and creating dynamism between the marks. I'm also interested in the idea of layers, and how connections are made between them. Like, do you have to have something actually on top of something to highlight connections/relationships or can these two things be separate, and their relationship will come through anyway?

I'm edging toward the later point, but will be interested to hear what you guys think about it.

Cue to fadeout

Very annoying, i have just written a post for this that disappeared into the ether.

Still the gist of it was that i am intrigued and excited for the Monday when we come together to install. I am looking forward especially to seeing Amelia's writings come into the gallery and how this will be, they are so evocative and uncanny, just the right side of the skewed if that makes sense.

i have put an image from the studio of what i am up to, hopefully a bit of an amalgamation of the influences i posted earlier, but hopefully not as you imagined either.

They will be less colourful outwardly when they are finished, more black so more akin to a drawn gesture which i how i seem them really. an architect's doodle, when he has gone off the path of where he should go and into territory of something more radical, before he is drawn back to something more usual or safe by restraints of planning laws/costs/annoyed neighbours etc. or maybe a design for the craziest monkey climbing frame at the zoo, or the new Serpentine pavilion or one in the boom of China, or............

the cinematic elements are interesting, will be good to talk about this on the install Monday.

cue to fadeout

Where do I want to go today?

Hi Amelia!

Great to read more about your work. I'm interested in your experience of California, and how it became quite cinematic. I often think I intake lots of sights and experiences in a rather filmic way, like it's filtered down through watching films about such places.

I've been thinking about where i'd like to go on holiday later in the summer - America/California has popped up a lot! (though lately been replaced by Eastern Europe). When deciding where to go, my first reference point seemed to be films of some sort - like what films have I seen that have been set in that state? or that the experience I imagine I would have in a certain state/location is influenced by the films I've seen that have been filmed there.

Film definitely effects my experiences of things, both through the scenarios/plots/action that I can imagine being being played out in whatever environment I'm in...but also more in terms of how a space is dissected/analysed through framing and composition. I don't mean just the way I take photos of space, but more that the processes I go through when I'm in a certain environment relate to film making in someway.

Here's some images of recent work. I'm not sure if these exact pieces will go into the final show , but the ideas and methods that they contain will do. I'll post some more images soon.

Looking forward to our discussion in the space - I think we'll all have lots to talk about!

bye for now

Hamish

'Place' texts

I must admit to having horribly neglected this project so far because I have been working on an exhibition that opens this Friday (see http://www.artinunusualspaces.co.uk/home/) if you are interested. However today I have finally managed to sit down and write some texts for possible inclusion in the exhibition. Now what is floating around in my head is how I might present these. With/without images (and if 'with' what of!) or mapping kind of diagram and on 1 big or several small bits of paper....

How are you guys getting on?

1.

The man at our B&B did the same walk as us, up Wansfell Pike. The next morning at breakfast he got out his map to trace the route, describing as he did so the landscape and the views he had enjoyed. Engrossed in re-living this experience he did not seem to register our interjections – explaining that we too had scrambled up the shorter route to the Pike's summit, looking down from the top at the panorama of Windermere and its surroundings.

The map was his guide. I could imagine him stopping to rest leaning on a gate-post and checking his course. Now its lines and markers were an aide to memory. We – mere amateurs – had followed the narrative of a popular walker's guide from the tourist information centre. When we stopped it was to match a description or illustration of a flat topped peak with an actual fell-top, or a picture of a stile with one within our sights. We stayed on course by recognising the actual landscape in the visual and verbal descriptions the guide provided.

Our walk included another kind of recognition too. Things had been feeling rather familiar for a while and, when we walked a distinctive path between two dry stone walls, I realised this was the same walk we'd done two years previously – popular enough to be reproduced in several walking guides. We did not, however, tell this to the man enjoying his breakfast reverie in case of spoiling his sense of a unique experience of the landscape.

2.

Recently I returned to a part of the city where I lived several years ago. Standing opposite a pub on the corner of my old street I saw that it was built in a mock Tudor style. Though it is a pub I have been in several times, and its styling stands out from the surrounding terraces, I had no memory of having noticed this before. I wondered, was its appearance something I had forgotten or had I never really looked at it properly?

This feeling of uncertainty was akin to noticing the space left by a demolished building and being unable to remember what has been there. It reminded me too of my discomfort at being asked for directions to a place I know very well, yet cannot clearly describe. Attempting to draw a map from 'here' to 'there,' I realise I don't know how many streets or buildings are placed on the route, or even exactly what direction 'there' is.

3.

When I first discovered Google Earth I looked at an ariel view of where I live now, followed by locations where I have lived in the past. Only then did I consider that it may be more interesting to look at unfamiliar places – to learn what they are like. This, I suspect, is typical. Google Earth provides a technologically more sophisticated version of the photographs of 'your house' taken from a helicopter that I remember door-to-door salesmen peddling when I was a child.

One thing that struck me when looking at my childhood hometown from above was that I had never really considered what was outside my territory. Beyond our street on one side was the recreation ground and a known road route. The other side, I could see now, were a few more houses and then fields. With no paths or roads to take me there, this was an area I did not know.


4.

Once I decided to walk home, following the 4 mile route I usually take by bus. The first part of my journey did not seem unusual – taking a path that I used to walk daily when I lived nearer the City centre. However on reaching Elland Road the experience became somewhat disconcerting. Accustomed to seeing this route from the top deck of the bus, the speed and scale of the place was all wrong. The distance between my familiar reference points (typically buildings or street furniture placed next to bus stops or traffic lights) seemed immense. I felt dwarfed by billboards and the semi-industrial units which I usually looked at directly or peered down upon.

The experience recalled a trip to southern California when, driving south from LAX to Santa Barbara, I noticed firstly the scale of the place. Although the landscape was strange to me it was at once familiar from images I had seen in films. However the experience was cinematic not just because of prior filmic representations but also because the scale of the roads and buildings and the speed at which we traversed them.

5.

One of the 'X-Factor' contestants in 2009 – a previous loser on 'Popstars: The Rivals' – sustained a career singing in working men's clubs. A film segment profiling this contestant included a cutaway shot of a building which looked familiar. I was at first uncertain but a second viewing confirmed this was a working men's club local to my house. I walk past it on my journeys to and from the town centre, yet here it appeared isolated from its context and viewed from a direct, unfamiliar angle.

There is a strange fascination involved in spotting places that you know on TV, whether random or anticipated. The series 'Midsommer Murders,' is filmed in the area where I grew up. Though I am not interested in the programme, I enjoy watching episodes to 'location spot.' The pursuit is complicated by the fact that within fiction places not really adjacent to each other can be collapsed. A character walks down the Buttermarket in Thame and emerges in a place I do not know.

The satisfaction involved in seeing places you know on TV seems unconcerned by context. In 2005 one of the London bombers had lived a few of streets up from my house in Beeston. I was fixated by the news footage of policeman standing outside a cordoned off house that I could have walked to in 3 or 4 minutes.

Landscape connections

Hi All, 

I got back from my trip to London on Saturday, and saw some good exhibitions. The one that stuck out the most was Arshile Gorky at Tate Modern. I'd been looking forward to this for a long time.

Gorky's relationship to the landscape was something that came through in the exhibition - though not in a overly representational way. 

At the beginning of the exhibition he was painting big abstract works, with the influence of cubism running through them. He really piled on the paint, resulting in thick canvases, with ridges and crevasses helping to define the thick lines of the forms. They looked really heavy and hard won canvases, with lots of layering going on. 

Halfway through the exhibition, there were a series of pen, ink and wax coloured drawings - all titled 'Virginia Landscape'. This is where the show really came alive, as his lines and colours were able to interact freely across the paper.

He made these works in the countryside in Virginia. I really took something from this, as he was inspired and spurred on to create new and freer works in response to these new surroundings - but not in a a representational manner. It's more the simple fact of being in this new environment that then gave him the impetus and energy to create new work.  

I took heart that these abstract paintings with all manner of marks, shapes and formations in them, could  still be rooted in the real world around him.  

Happy nicking

Feel free to steal away!

Yes, I know the Fiona Banner work. She's one of those artists whose work I saw ages ago (in Turner Prize whilst I was doing my A-level art) and at the time didn't really 'get' or like that much but later became interesting. Another example would be Richard Long whose work I thought was really BORING until seeing the Tate exhibition last year. Probably something to do with scale.

I don't know Nicholson Baker's work but maybe I'll see if I can get them from the library. Hang on, I've just looked on Amazon and can get 'Box of Matches' for £0.34 (well £3 with postage) That'll do it! I must say I'm often quite a fan of books where nothing very much happens!

I thought I couldn't do the 2 ideas because of not fitting, although time-constraints are a consideration too! Will see how I get on.

Keeping a messy Palette

Hi All, 

Wow!! great posts coming through here! It's really getting me thinking. 

Amelia - you're ideas sound really interesting. They kind of fit with the processes i've been going through in the studio. Well, they talk about a thought process going on inside ones head - and that's what I was doing when I was cycling by the docks. Or even just the idea of letting your thoughts ramble and wonder as you walk around town. The idea of not being able to describe to someone exactly how to get somewhere - even though you know you could find the way easily - I've felt that!!

Your second idea is also a great one - those words really tap into the kind of things I'm dealing with in the studio. The messy push and pull between marks and the direction of where the painting is going. They're juicy words and seem to talk about that tangle of making well! Quite Physical - Yeah! I'd be up for both ideas being realised in the exhibition.

Michael - You're Mount St Helen's photos look interesting. It's nice to get a window on your practice that's different from what I've seen on your website. You mention the trees echoing the lines on digital videos...It will be good to learn more about how these photos fit into your practice.

Andrew - great set of inspirations there. I really need to watch Suspiria! hmmm, I'm getting images of what your work might be like.....

Thanks for posting your thoughts on this blog - it's cool to see what other people are thinking about and is helping me to solidify my own ideas for the exhibition - and hopefully yours as well!

I've recently decided NOT to clean my palate up completely at the end of each day (a big step for me)...I don't know why, but before this I always thought it was good practice to wipe away all the old colours, and start the next day afresh. But, then I don't know where to key off from when I start the next day - so now I'm leaving the colours there! It gives me a sense of where my thoughts/actions were the previous day, but in a physical more tactile way. 

I'll post some more images when I get in the studio:-)

speak to you all soon

Hamish

 

can i steal your wonderful ideas!?

Amelia, there are about 40 different potential artwork in a blog entry...wow

why can't you do 2 different pieces-time constraints or the idea of fitting, i quite like the idea of not fitting or rather not quite fitting correctly!

but some late night thoughts....

the idea of places that are familiar on tv but out of context is such a feeling of uncanniness, it really throws you, i would love to see what story resulted from this.

and the others are gems too.

i am not convinced of image and text combined on the same image, seperate for me!

the 2nd image of the road with the steps down to the middle of the road is brilliant.

word drawings that are jammed, do it, do it, do it.

do you know the Fiona Banner life drawings? i put them above for you...maybe something there

also Nicholson Baker novels especially Box of Matches, seems to fit the story somehow, but not quite sure why......

Right got to dash to bed as my little boy is beginning to cry, which reminds me of another Nicholson Baker book called Room Temperature, again worth a read, just avoid the fermeta.

oh and your ideas are safe, i would never do that.

Two Possibilities

Hello all,

I’ve enjoyed looking at your posts and it has galvanised me into thinking about what I’ll do for this show. I have two still rather vague ideas whirring around in my head as possibilities. I don’t think these two ideas are compatible with each other, it would have to be one or the other. So I’m interested to get some feedback on what you guys think would interact or resonate best with your works. I appreciate that I might have to work these ideas up a bit more (actually start writing the text or doing the drawings) before you have an opinion one way or the other. However I thought it’d be good to get something up on the blog straight away and give you an idea at least

Idea 1 – places, experience and represenation

A series of 3-5 short written episodes to do with the relationship between place, memory, physical interaction and representation. These (written from autobiographical experiences but maybe a bit fictionalised) might include:

1) Story about going back to a place in the city where I used to live and noticing a pub which I’d been in before but never really seen what it actually looked like (quite distinctive mock Tudor). Similar to the experience of when a building is knocked down, wondering what was there before. Or when someone asks you directions and you know where they want to go, could get there yourself but can’t quite visualise the route. Place isn’t necessarily experienced visually.

2) The weird experience of seeing familiar places on TV. A moment of recognition but seems odd as out of context.

3) Walking along my familiar bus route and it having a completely different sense of space, speed and scale than when on the bus.

4) Looking at the town where I grew up on google maps and realising that I never really considered that I lived right at the boundary of the residential part of the town. Because there weren’t parks to take me there I didn’t really think what was outside it. Ariel view gives a new perspective.

5) Story about doing the same walk twice in the Lake District by mistake in 2 consecutive years because we bought guided walk books both times that must be compiled from the same range of walks. The second time we got chatting to another couple in our B&B who had done the same walk that day too – but set out earlier than us. The husband of the couple however obviously did not register what we were saying to him as he proceeded to get his map out and show us the route they’d taken, explaining the walk in detail as he did so not acknowledging that this was a repetition of what we’d done too.

The reason I’m considering these ideas for this exhibition is really from Hamish saying that his paintings though abstract come from an interest in/interaction with the world or landscape around him. I’ve been thinking about how my local landscape is embedded in my mental space and to some degree the impact of mediation (Maps, TV) on this. There is possibly also some resonance with Michael’s work? – from what I’ve seen on your website at least.

The stories might be combined with photographic images. Here’s some photos from a fairly recent photo taking trip that I quite like though I’m not sure they’re the most relevant thing.





Maybe also map/ariel images. In which case I’d probably quite simply just put them next to each other. Or they could just be texts, possibly on print outs that could be taken away. Or could be audio recordings, listening through headphones.

Here's a couple of visual references that may or may not suggest where it's going!


by Victor Burgin



Idea 2 - Drawings of words to do with mess, disorder or trying to hoard up against this:

Some possible words so far:

title=glut
stuffed
crammed
satiated
rammed

This might be a series of 4 drawings or a single drawing with lots of words grappling for space - CHOKE UP, CRAM, FILL, FORCE, GLUT, JAM, OVERFILL, PACK, PUSH, RAM, SATIATE, SQUEEZE, WAD, WEDGE. Probably messy, pencil and paint on paper.

clag, gloop, gunge, gunk, mush, slush, crud, dregs, mire, scuz
sleaze, slime, goo, sludge
dribble, seep, drip, pour, slop, slosh, spill…
daub, slather, smear, smudge, swab….(not sure yet how I’d use these, just a starting point. Might put them into sentences somehow)

Some visual references:



I've lost track of the artist of this one

By Bruce Nauman



I guess I am interested in the synaesthetic qualities of words. I thought particularly that putting such words with paintings, they might refer to the material qualities of paint and the aspect of controlling paint but also allowing it to drib, dribble etc. In some of the references Andrew posted there seems to be something about disorder taking over, or slipping into chaos.

To some degree these words have come from recently reading “The Stuff of Thought” by Stephen Pinker. He writes about how things like causing and letting are expressed using different grammar. I’m not going to spend the time to go into this more here now, but suffice to say, his point is that the ‘stuffness’ of the world gets embedded in how we use language. Things like causing/letting, forcing/allowing and also spatial relationships are conceptualised quite clearly at a fundamental level and then have to be expressed by the clunky system of language.

I’m also interested in how we conceptualise ourselves as having an ‘inside’ and ‘outside,’ human subjectivity is conceived in spatial terms as if our bodies were a container for our selves. I haven’t really thought this through, but somehow that seems to fit with the idea of a ‘box’ as a container and thinking outside it. The following 2 phrases are to do with this notion and could just be simple black, vinyl lettering on a white wall.

what if we are empty?
what if we are full of mess?

That’s it for now!

I've spent the better part of the last two months just getting situated. Putting my stuff into places, and finding new stuff, and finding places that need stuff. So I haven't quite established a way of working in my new place, or where to find the things I need to make work, or how to connect to places to make new work. Hopefully this will change as I get out of town for a week or so, and reconnect to my normal process of making things (although it will be significantly altered.)

So I don't have a whole lot to contribute to new inspirations. But maybe I'm rather taking this time to think back a bit on what I've been working on before I enter a new phase of work and (worry?) about how that will come to end.

So here are some photos that are more towards the beginning of what I've been working on the last few years. They are photos of a trip I took to Mount St. Helens, which erupted in 1980. At the time I went to visit it (nearly 30 years later), the volcano began a new cycle of activity - rebuilding it's lava dome. Although I didn't experience it's original eruption, I lived a few hours away from it at the time I took these pictures, and in the shadow of Mount Rainer a much larger and potentially much more devastating volcano that was labeled dormant. Regardless, and as cool as volcanoes are, I was less concerned with the mountain itself, but rather the area around it.


This was really the beginning of my inquiry, and I have a lot of photos of this. After the volcano erupted it knocked over all of the trees for miles. Logging companies came and took those trees and also started logging the forests nearby. After clearcutting an area, they replanted acres of trees. Different areas of the forest were replanted in different years and have signs marking them. Because of all of this there are large plots of land with the exact same trees, all the exact same age, grown at the same height and sometimes in clear rows. It seems like an optical illusion when you stare at them. And it reminded me a lot of digital media and video. With these perfect interlacing horizontal and vertical lines that are natural, but human-enhanced.


This is some little cave at the base of Mount St. Helens. Since around it nearly everywhere is death, I wonder what lives in it.











This is the top of the spent mountain, with a new dome of rock slowly smoking and being created.












These are the surrounding hills at the base of the mountain. What used to be covered in forest, is now covered in thousands of quiet logs laying down. Bleached white from laying in the sun for thirty years, but maybe also the heat and shock of the initial blast.







In the forests along the perimeter of Mount St. Helens, logging companies are still hard at work clearcutting vast areas. These are the neat little piles they leave behind after clearing an area.

Andrew Bracey's Inspirations

Ballard's The Crystal World and this book jacket Dario Argento's Suspiria, or rather my dim memory of it
A floral festival in Brussles.

Great to see the painting Hamish and I cannot wait to see the actual thing in Royal Standard soon. I have made a start on things for the show and seeing you work, makes me feel more strongly that the new work fits in nicely.....we shall see soon. Thought I would leave some of the inspirations that are going into the new work to leave you guesing, hopefully tantalisingly, but maybe intrigued, excited, baffled, disapointed, dazzled or confused or somewhere in between. Or I leave these as hopefully a common link to Amelia, Hamish or Michael and their work.....

The trusty painters palette

Wil Alsop's proposal paintings, so much more exciting than the buildings.

Buckminster Fuller

The back of the Hollywood sign

My thought of what Las Vegas must be like from a low flying aircraft

Drawings without the trappings of transending language or reality.

Magic mould gone crazy