I was already on pace to complete this new series for the beginning of February.

So I figured I might as well proceed with my weekend woodwoorking marathon to fabricate the frames on schedule. How could I pass up the chance for such choice alliteration?

It feels good to be manically productive.  I feel that this series has moved me forward in some important and presently not understood way.  Thanks to Jesse and zMom for advice, room, board.

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The payoff:

OK, because the gallery that was to show my ambitious new series (24 new pieces in 24 days) has dissolved before it even got started, there remains no reason to pursue the imaginary sense of suspense I was previously attempting.  I shall heretofore reveal all.  This new project is another series of prints on trash, but even more legitimate trash.  Imagine me diving into an absurdly deep dumpster at work wearing my fancy dress shoes and you will have imagined the back story of this series.

The image is three traffic cones sitting in one of my favorite Golden Gate Park glens, and the neat thing about the series is that each piece is unique.  Not only is each rectangle of cardboard disgusting in its own special way, but the base layer of every piece is printed in a different color that blends into the same white light that illuminates the cones throughout.  The different colors span the entire visible spectrum and the net effect is a gradual journey from twilight to dusk and back again.

I am not sure if that makes such sense, but the idea was to hang a six-by-four matrix of all twenty-four pieces by color.  Kind of like this mockup.  The idea was to price them so low that people would be idiots to not buy them, and as they did the installation would dissolve and I would be rich.

Here’s the sequence of a few of the pieces:

Layer 1
Layer 3
Layer 5

Next: A small oak tree becomes thirty frames.

Recently sighted: Grant Street in Chinatown, stained red from Chinese New Years firecrackers.  Woah.

Correction: I am not part of a new gallery, the new gallery I am not part of  isn’t going to be on Larkin Street, and there most definitely isn’t going to be a show in February.

Anyone need twenty-four framed cityscapes ?

Did I mention I was invited to join a new collective gallery owned and operated by artists?

Did I mention that this gallery is on the same Larkin Street block where I purchase my quasi-legal pharmaceuticals as my favorite Morrocan restaurant?

Did I mention our first show goes up this February?

It is all true and I am planning something exciting, complete with special effects.  Check out the gradient technique:

I bet Andy Warhol never thought of that, welcome to the future,.

Please check in again soon to see what I am making and how this series comes out.  Or even better come to the show.  I would love the moral support:

Gallery 1044 February 2012 Show
1044 Larkin St, San Francisco
Feb 01-Feb 26
Opening Reception: 2nd Thursday (2/9) 6-10pm
(Did I mention I will be offering this absurdly cheap, unique and gallery-enabled series of screenprints)

This Saturday saw the completion of a rare printmaking collaboration between myself and the extended Bregman family.

The project involved the production of one edition of prints that modestly explored the concept of Kindred.  Ziggy (aka Zmom aka Zig_Poet@gmail aka Erin’s Mom), an accomplished Santa Cruz print maker, started things out with a woodcut she described as “invoking the family tree:”

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After that, I compiled a primary source motherlode of old letters, journals, report cards, and telegrams found in the Bregman family archive and also one of the world’s great junk shops (thank you, Ben Hill).  With the help of Erin and my letter-writing typewriter, I constructed the words into an extra special, one-layer silver screenprint:

Today in my San Francisco studio it all came together:

What a cool little project. So now I guess if someone I don’t know likes it, it’s off to Australia. Or something.