Friend, neighbor and SAIC Professor Matt Goulish referred to this collection as a "Group Show." He may be right, as it does feel to me that these projects were created by different versions, as least as timeline is concerned, of Tom Lunt. Another friend, an East coast conceptual painter, once told me after looking at this work, "I Like it, but why isn't there more of it?" 
Well, there's as much of it as there is. Some projects took moments, others took months, some happened over years. All these Tom Lunts. 
William Eggleston has said of his own work, "There are a lot of unseen projects. When a project is finished, I often physically, and in my mind, set it aside, intending something to happen with it, something that does or does not always happen."
The kinds of projects that came to life in the hours I had available to do them often never got off the ground or were relegated to a future that sometimes, but not always arrived. When they did, being apart from the art community, and not being a particularly ambitious person, they went into a drawer, a file, and sometimes on my wall or the wall of a friend. I had no studio hours, no formal practice. I never attended university or had any kind of art training. 
So perhaps this is common.
For a long time, I wasn't able to take on art as a vocation. I worked in the retail music business for a decade, the advertising industry for nearly twenty years as a writer and creative director and had a record label (The Numero Group) for another ten, retiring in 2013.
I'm now retired entirely from work for others. I produce the occasional record, work as a musician; I only work for myself.
I'm principally a photographer, but not a luddite when it comes to how an image is produced. I stopped using film the minute I no longer had to and embrace AI as a tool as useful as any other to bring an idea to life.
I'll own up to being interested in propaganda in all its aspects, media, politics, religion, the voice of the state, but these things, rather than intended, seem to be ingrained interests that make themselves apparent sometimes well after a project is finished.
Mostly I like the images I make to speak for themselves. To quote Mr Eggleston again, "A picture is what it is and I’ve never noticed that it helps to talk about them, or answer specific questions about them, much less volunteer information in words. It wouldn’t make any sense to explain them. Kind of diminishes them. It gets really ridiculous. I mean, they’re right there, whatever they are."  
But as for the chairs and cats, I have to say that I was terrified of the bomb as a child, and so when I began doing those projects, I started putting the threat of imminent nuclear war (timely) on everything common, furniture, cats; I'm also working on a series of mushroom spores threatening the renaissance. Perhaps the magic mushroom cloud will turn out to be the more powerful one. 

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