New Work

"As a Lamb to Slaughter"

Tonights Harvest

My veins were less than cooperative tonight and will leave a mark this time.  Still we we able to get what was needed.  About 50 vials.  Half way at 160 vials.

Totentanz Proper Scan

"Totentanz" oils on gesso coated print paper "20X22 1/2" 2009 now avilable at Bert Green Fine Art

Twitter

I fought it as long as I can....

I am now on Twitter at http://twitter.com/johnua

"Totentanz"

Finished but not scanned.  Just a shot with the camera.

Best of the Buzz

"Flesh and Blood" just made "Best of the Buzz" on Art Slant. http://assets1.artslant.com/la/main/community ArtSlant - Artists, Exhibits, Galleries and Museums in Los Angeles

Totentanz

Rename: Totentanz

Death Day 5

Tonight's labors.  Still an underpainting.....

Death Day 4

Background roughed in.

Death Day 3

Day 3, roughing out the under-painting still.  The background will be interesting.

Abort Magazine

Abort Issue #14 was just released.  I am one of the featured artists.

2D Artist Magazine

The wonderful folks at 2D Magazine have graciously allowed me to post a link for free to my article in the Sketchbook feature of the December issue.  They also have a free lite version of the current issue as well.

The link to my feature is http://www.2dartistmag.com/artists/issue048_dec09/article01.pdf

"Death Dances In" WT

First day of painting

Artist Statement

“Flesh and Blood”

“Flesh and Blood” was the hardest and yet easiest series for me to paint of my entire career. Hardest due to the brutal nature in which I viewed the mirror. Easiest in so far as the flow was natural, unstudied and for the first time born of only my sketches. My past work was usually the result of working from photographs or working directly into paint without any pre-sketches at all. Because of this I find “Flesh and Blood” to be perhaps the most honest I have done to date.

The majority of the paintings consist of oils on gesso coated print paper. I developed this method as an extension of my journal writings thus the paintings and the central installation work are, in my mind, one piece.

While creating the vocabulary for “Flesh and Blood” I chose to depict the human form in a way that seemed more in line with my mental state and other conceptual themes I wanted to explore than the idealized bodies of my past work could communicate. A chance encounter at the DeYoung Art Museum in Golden Gate Park with a stunningly beautiful woman supplied another important visual element for this series. She was in a wheelchair with both arms amputated at the mid-biceps, bone protruded from the tapered muscles at the end of each of her amputated appendages. To me, as a muse, she was perfect and transcendent.

“Flesh and Blood” is catharsis. From the flesh and blood letting needed for the installation work to the subjects I gave form to in paint culminating in the destruction of 15 years worth of writings. An artist in midlife contemplating the waste, sloth and slowly approaching mortality of his life framed by moments of self flagellation. My figures seem to have a resigned appreciation of their own personal hells.

Flesh

"Flesh and Blood" wouldn't be flesh and blood without it.  Much harder to get than blood.  My flesh of course.

Blood Draw Day 2

Double the amount of blood drawn this time, 220 cc but same number of filled vials.  I filled them more, better look.

"Flesh and Blood" Installation Piece

Shots taken by the gentleman that is building the cage structure that will be attached to the table and will be the support from which I will suspend the 300 or so vials of blood and flesh.

"The Wretched" a self portrait

Proper scan and done, done.

Oils on gessoed print paper
"17X22"
2009
Now available through Bert Green Fine Art at http://www.bgfa.us/