PAINTINGS : RECENT2014

RECENT WORKS: 2014
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TACHAEONIC FOUNTAIN: DIGITAL IRIS PRINT, 48″x60″

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‘TACHAEONIC FOUNTAIN’ is a 2014 digital work, in an edition of 3, that continues the practice of 2008’s Digital Iris Series. Created using an Iphone and a Algorithmic Visualization Application, TACHAEONIC FOUNTAIN is an experiment in the use of computational software in the creation of images combined with improvisational gestural choices. Thus, TACHAEONIC FOUNTAIN is a comment on resolving my inner conflict with the officially recognized new international style of ‘Parametricism’ as it relates derivatively to the authentic and original aesthetics of the GENERAL.LA Studio practice (since 1982) termed ‘Generativity’ or ‘Generalization’. While both Generativity and Parametricism are consistently aesthetically indistinguishable , the philosophical integrity of Generativity transcends Parametricism’s simple definition as an ‘Algorithimically Derived Formal Aesthetic From Computational Software Geometries’ by defining such Aesthetics as the application of geometries (such as Phi, the Golden Mean) decoded from their ubiquity in nature and ‘the universe’: Generativity guarantees first a deeply comprehensive understanding of life through an interpretation of the sub and objective universal, yet hidden, geometrically omniscient encoded knowledge, and second its application from shallow formality to the depths of its meaning as holding the keys to all conscious values and ‘Golden’ meaning. Simply, while Parametricism primarily relies on a computer and algorithmic formulae to derive form, Generativity is a practive entirely derived from inspiration, skill, and craft of GENERAL.LA unaided by any observable reference or aid: Generativity is the practice first of deeply studying and understanding Life, The Universe, and The Human Condition first- decoding and interpreting these understandings metaphorically as intuitive geometry- then applying this sacred knowledge in the crafting of works through only pure inspiration, without preconception.
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HYPERACCELLERANT PORTRAIT: DIGITAL IRIS PRINT, 60″X68″

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Another IPhone Collaborative work, The ‘HYPERACCELLERANT PORTRAIT’ is a record of a drawing produced spontaneously on the walls of the GENERAL.LA Studio as an addition to several evolving murals in the office space to convey an environmental aesthetic. This particular drawing was originally meant to express an extension of the GENERATIVE graffiti style as a gestural lexicon for describing dimensional form- particularly anatomy and portraiture- and was composed with certain sublime characteristics that it iconified the intent in such a way as to necessitate further record and exposure. The ideas of improvisational spontaneity, as well as the recording of such ‘fleeting’ moments by a ‘smart’ mobile device– a technology facilitating a cultural epidemic of attention-deficiency to social-media mass-produced at vastly exponential rates — calls into question the relevance of the creative act, itself. With this ‘inflation of creative currency’, the value and meaning of creative acts made exclusively possible by tools of coveted ‘trade secrets’, elitely guilded skillset initiates, and technically specialized professionals are now so rapidly available to consumer masses that their ease of facility has resulted in the reevaluation of their value. Ironically, the likelihood of their addition to the internet assures such permanence in historic record that their potential to last a test of time (perhaps even achieving timelessness) is not only probable, but nearly guaranteed. Combined with an equally easy ability to be multiplied for viral reach, an entirely new definition of ‘objective cultural relevance’ is now being pioneered. The combining of the worth of a unique art object with a reproductive media with the potential to undermine its subject-matter’s meaning, a conflict of ideologies is exposed presenting questions challenging an exploration of defining again ‘what art is.”
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TACHAEON AMATUS: ACRYLIC ON MYLAR CANVAS, 48″x48″

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TACHAEON AMATUS is a current extension of script-based compositions originally derived from GENERAL.LA Studio’s origin in Graffiti Art’s tagging practice. The act of mark-making as the foundation (both aesthetically and philosophically) of the artist’s stylistic ‘fingerprint’ is explored in this work as it evolves into the basis for ‘letterform’ and ‘handstyle’. The choice of words ‘Tachaeon Amatus’ is no random choice- rather a very concise decision to correlate the definition of TACHAEON and AMATUS (Tachaeon- A theoretical particle of Time; and Amatus-a word for the spiritual force in movement– Together meaning: “The Spiritual Force of the Universe is Time”) as an iconic archetypal metaphor translated as observable script and mark-making: the fabric of ‘Space/Time’ as consciousness. If ‘In the Beginning There Was The Word’, then this Mark-Making symbolizes the individual moments of intention as letters, forming a script of meaning, together as consciousness forming a ‘life sentence’.
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ONA: DIGITAL IRIS PRINT, EDITION OF 1, 48″x48″

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ONA is the unimpeded visual focus on a specific script ‘hand-style’, becoming a graphic icon. Originally the request of my friend Ona to ‘Write her name in my letter style’, and knowing her ambition to create a logo and brand identity for her boutique fashion label ‘Ona Los Angeles’, this large-scale-print is simply a reference to this recent moment in the GENERAL.LA Studio practice while exhibiting the graphic quality and skill employed in the result of a 3 second gesture.
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NEUCLEAR MYSTICISM: SPRAYPAINT ON MYLAR CANVAS, 48″x48″

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NEUCLEAR MYSTICISM is a coy reference to a 1947 quote by Salvador Dali, which appeared in serendipity as this canvas was being painted while a documentary on Dali’s life was played in the background. The words ‘Neuclear Mysticism’ we inscribed just after being overheard while working on this canvas and subsequently became its title, perfectly defining the metaphoric intent of the canvas’s spatial program, determined by the graffiti-derivative style employed. This extension of this stylistic derivation was intended as an explorative evolution of intuitive ways to break-up or fill space, the void of a canvas, with a lexicon of geometric linearity consistently similar in the ‘Generative’ graffiti style – similar yet variably individuated – and metaphorically perceived as a conceptual exposition of the microcosmic forces of consciousness at work composing the physical universe. These forces, traditionally the source of ‘Mystical’ study (i.e. Sacred Geometry) are then correlated to the Mystery of what occurs beyond the scale of the nucleus in the atomic structure of matter. Are these forces conscious? Thus, is the great mystery of reality that it is alive? Can Graffiti as a form of free expression allow intuition to guide the hand aesthetically to express this truth?
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SPATIAL GENERATING LINEARITY 1 : SPRAYPAINT, ACRYLIC, INK on CANVAS, 24″x36″

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The GENERAL.LA Studio’s 2014 decision in producing Hand-Made ArtWorks was, essentially, a return to its roots in Graffiti. Applied in variations of an aesthetic constant – The Style Language consistent in my original teenage Graffiti – resulted in this particular adaptation of the origins of ‘Generativity’. Objectively defined in its title, ‘SPATIAL GENERATING LINEARITY’ is the first of two canvas experiments in simple linear borderlines applied in variation of proportion and angle to effectively generate space. The resulting discovery is a realization that one can be ‘confined by the boundaries of infinite space’ and that borders do more than define perimeters- they harmonize the perception of space by making it palpable in scale- hence the necessity of geometry’s inevitable relationship to physics.
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GENER8 TESSEL8 FORMULA: ACRYLIC AND INK ON CANVAS, 36″x24″

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This is an ‘Origin Canvas’- a eureka moment expressing an important aesthetic realization and definitive step in the GENERAL.LA Studio’s personal historic record. ‘GENER8 TESSEL8 FORMULA’ is one of the early experiments with defining the lexicon of the ‘Generative’ Graffiti Style by resolving its formal geometry with a variable repetition of aesthetic elements resulting in a ‘Generative Tesselation (Language) Formula’.
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GENERATION GEOMETRIC TESSELATE STYLE 00: INK ON PANEL, 6″X12″

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GENERATIO DIAGRAM: INK ON PAPER, 12″X12″

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GENERATION CHI TECH: SPRAYPAINT, LATEX, INK ON TYVEK MULTIMEDIA CANVAS, 53″x108″

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A large scale application of the ‘Generative’ graffiti lexicon, GENERATION CHI TECH is a long-intended work of producing a large work combining the ‘Generative’ with ‘Starchiteq’ aesthetics. The surface on which the piece is painted is a handmade TYVEK canvas composed of USPS TYVEK envelope material in a patchwork joined with professional film industry fabric gaffing tape and sealed in flexible latex layers – the resulting 4.5’x9′ plasticine rectangle is an ideal surface for chemically bonding high-end acrylic spraypaint, becoming an art object of precise craftsmanship: a contemporary mastery of traditional graffiti materials applied to create a timeless piece.
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GENERATION SPATIAL DETERMINATION (R.E.D.): ACRYLIC, INK ON CANVAS PANELS, 6″X16″

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GENERATION SPATIAL DETERMINATION: ACRYLIC, SPRAYPAINT, INK ON CANVAS, 16″X60″

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GENERATION SPATIAL APPLICATION 1 (TO MOHA): SPRAYPAINT ON CANVAS, 16″X60″

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GENERATED LEXICONOGRAFFITI: ACRYLIC, SPRAYPAINT, ENAMEL ON CANVAS, 6″X20″

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GENERATION STYLE APPLICATION 2: MULTIMEDIA ON CANVAS, 12″X36″

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GENERATION SPATIAL PROGRAM TESSELATE 1: SPRAYPAINT, INK ON PANEL, 9″X12″

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GENERATION OF SPATIAL DIVISION (APPLIED) 3: MULTIMEDIA ON CANVAS, 8″X10″

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BEINGDEVINE (NEON MESSIAH): SPRAYPAINT, ACRYLIC, MULTIMEDIA ON CANVAS, 48″X72″

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GENERATION ANATOMICAL APPLICATION PORTRAIT 1: MULTIMEDIA ON CANVAS, 36″X45″

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GENERATION ABSTRACTION 1: MULTIMEDIA ON CANVAS, 5″X7″

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GENERATION ABSTRACTION 2: MULTIMEDIA ON CANVAS, 2″X3.5″

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GENERATIONAL GEOMETRY DEFINITION: ACRYLIC, SPRAYPAINT, INK ON CANVAS, 24″X36″

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“OATH-RED-GENER-GANDI” ILLUSTRATION IN BLACKBOOK: MULTIMEDIA ON PAPER 6.5″X9.5″

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