The senate ain’t run by Jesus
it’s 2020 anno Domini
who still believes this?
your self righteousness
feels a bit
like you got something up
If it wasn’t so treasonous
it would almost be funny
for santa claus
and the easter bunny
the boogeyman and god almighty
nighty nite, sleep tight
and keep thinking your savior
And count your money
but stop telling women who dictate their rights
Cuz no one needs your permission
and long ago the we stopped listening
you feign moral superiority
and speak in contradiction
and fuck the majority
and fuck your insistence
doesn’t make her body“your” choice
how can we call you Justice?
when we’ve already discussed this
hard not to see
the hypocrisy in
subjugation via procreation
hardly seems like democracy
And pro kids in cages?
and pro moms with stagnant wages?
and no family planning
for no one of any age?
Who the fuck do you think
Save yourself and
keep your own house in order
say what you want to your wife and daughter
kneel on your alter in compliance
to the holy ghost not science
viewing the modern world as defiant
your faith claiming it’s meant to be
last time I checked
God ain’t a legal entity
and what it means to you
it never meant to me
Some bullshit about control and winning
but the world just keeps spinning
and spinning past ya
faster and faster
when these old men die
we’ll live happily
This release drops Thursday Oct. 15th at 9am PST.
In the Spring of this year, when there were massive PPE shortages among frontline COVID workers, I started contacting friends in China, Hong Kong and Cambodia to see if I could buy masks and supplies to donate to some of the hardest hit areas. While the United States government dragged its feet, unable to offer even basic protection to health care and other essential workers, I, as an ordinary citizen, was able to purchase around 1000 masks and distribute them to hospitals in need. It wasn’t particularly difficult, this administration simply lacked the will to protect the very people who were keeping us safe and risking their own well being. I spoke with hospital workers at the time who were reusing disposable masks for 4-5 days of 12 hour shifts. The very people who risked their own health everyday to keep us safe could not even be provided with the most basic items to allow them to perform their work safely.
This print “Forsake” is in response to that experience. “After forsaking you, they will call you hero in their speeches” is written across each image. It’s indicative of the sanctimonious gestures of this administration and politicians in general. While the essential workers were little more than an afterthought, their efforts are co-opted as public relations campaigns for leaders who failed to lead.
1Xrun and myself will use 100% of the purchase price of these to procure PPE and distribute it this coming Fall. Many in the medical field have suspected there may be a second wave of COVID this Fall. If I have learned anything from the Spring, it is not to assume this administration has any sort of plan or is even moderately prepared for this. Together, 1xrun and myself would like to be out in front of this and help. Should there be a second wave, the funds from the sale of this work will have created a small stockpile of PPE that we can quickly distribute to the facilities that need them most. That is the very least we can offer in appreciation of the relentless efforts of frontline workers.
By purchasing this print you are actually purchasing PPE to keep these workers safe and helping us stay prepared for the coming months.
Buy it here: https://www.1xrun.com/collections/forsake/
About the Print: There are 2 different versions of this print.
The first is a 16×20 inch giclee. Signed and numbered- edition of 50
The second are hand painted multiples 18×24 signed and numbered-Edition of 10
The HPMs are acetone transfer prints finished and stained with tinted shellac each is a unique piece.
Stars and bars
there’s plenty to prove who we are
to a referendum on our descendants
monkeys waving flags
and the rest of us wanna end this shit.
Old glory, same story, don’t worry
flag unfurled and held so high
just look at the height of it
so high we’ve lost sight of it
ain’t really the fabric of the nation we see
just a 2 dollar sticker or 2 for three
Stick it on your truck
and fuck unity
Or take to the street and topple fake heroes
for a new direction
but fuck if we’ll do it for your
laws that invade a woman’s right to choose
but not a cops right to bruise
or murder without motive
suspended with pay
light a votive
say your prayers and put them on shelves
The lord helps those who help themselves
tear gassing masses and forsaking the dead
to pose with a book you never read
at a church you’ve never been to
a code of decency you’ll never bend to
propaganda at its’ worst
C’mon now stand and quote a verse
Wisdom is harder than violence
and promises are easy
when you try less
and the less you do the less is expected
and the more people die
the more we accept it
leaders make promises for statues being erected
and everyday another 50,000 are infected
Let’s just cover our faces
try to erase this
make dedications to all the nameless and faceless
The red white and blue
black and blue
black and white too
Like none of us knew…
we have the nation we settled for
not less, not more
they never built the wall but they stopped immigration
turning the enviable into an plague ridden nation
a leper colony lead by a wanna be
a bloated messiah
A nation of Pariahs and liars
now here we are trapped inside
these invisible fences
bluster is cheap
but ignorance is expensive
Reflecting on the past 3 1/2 years I proposed a montage that I felt told the story and the history quite well. Some found it too opinionated. It’s hard to convey the depth of a historically catastrophic administration in 3 minutes.
Personally, I think I nailed it.
Register to vote
I’ve been asked why I chose to make the above piece regarding racism. I didn’t exactly. I made a piece called “The Residue of Arrogance” which was mostly about my growing discontent with the United States and my choice to spend most of my time abroad. That decision had a lot to do with the direction in which my country has moved post 9/11. Certainly racism plays a role in those objections, but it was a much broader view of many consequences.
The thing that I find most interesting about the piece is what it has shown me. Many people have concluded that the piece is about racism. I imagine it has to do with my choice of using an African American model. Had I used a white model, I assume people’s reading of it would be different. However, based on people’s reactions, it is entirely clear how most people view the United States. Juxtapose an American Flag and an African American and the conclusion many people will make is that it is, of course, about racism. That’s how connected the image of the United States is to racism, it’s something people assume. What I was trying to convey was an erosion of freedoms and self censorship in a post 9/11 America. However, even in 2017 (which is when I made the original piece) the simple addition of a different skin color leads many people to assume an entirely different meaning. So, in it’s conception it wasn’t focused on racism, but in it’s reception it has become very much about race. This is how the piece talks back to me about it’s context.
As an artist, you begin to see the complexity of representation. In my mind the figure in the piece was simply an individual, an American. Yet because the figure is African American, to many people, the “individual” becomes a representation of an entire race of people. Isn’t that exactly what racism is? When people’s individual identity is eclipsed by their race?
As an artist I have always been fascinated with knockoffs. In the 90’s I would peruse the stalls of Canal Street in lower Manhattan sifting through piles of fake Rolexes in search of the best watch $10 could buy. In the 2000’s I would stock up on knockoff Calvin Klein underwear in Hong Kong for $2 a pair versus the genuine article at $22 a pair. In many cases I liked the knockoffs better. For example, real Calvin Klein underwear came only in a few select colors. The knockoffs, however, came in every color you could imagine. The fake Rolexes were available with these cool flex wristbands that Rolex never made. My fascination was with how often knockoffs also evolve. Copying is not just copying, it is also the doorway to creating.
In 2018 I spent two months at Jardin Orange, an artist residency in Shenzhen, China. Shenzhen is China’s Silicon Valley, and most likely where your iPhone or laptop were manufactured. It’s been at the center of the ongoing battle over intellectual property theft between the U.S. and China for the past couple decades.
In the 70’s, Shenzhen was little more than a fishing village. Then in 1979, it became one of five special economic zones in China, their first experiments with market capitalism. By the early 2000’s it was manufacturing 90% of the world’s electronics. Today, it is an international hub of tech innovation. It’s difficult to comprehend a city that has transformed itself at breakneck speed for the past four decades. Part of my job as an artist is to attempt to understand the places I travel to, and bring that understanding into my work, but Shenzhen was surreal to me. I am from Oakland, CA. I watched for 24 years as the eastern span of the Bay Bridge was replaced after the 1989 Loma Prieta earthquake – 24 years to replace half a bridge! In that time, Shenzhen had gone from a city of 647,000 to a city of 10,873,000 residents. By 2020, Shenzhen based companies like Huawei were outselling iPhone, and positioned to dominate 5G technology. Tencent had become not only the world’s largest video game company, but one of the largest social media platforms. Just 10 years ago, Shenzhen was more infamous for it’s “Shanzhai”, or counterfeit electronics; cheap knockoffs aimed at markets that could not afford the Western originals.
Shenzhen is also home to “Dafen Village”. Dafen is a painting village. An urban village, or neighborhood, in the middle of the city. It is the place where, at one point, an estimated 60% of the world’s oil paintings were being painted. Hundreds of shops, usually with 2-3 painters working, line the labyrinth of the small streets. Painters overflow into alley ways, stalls, and onto the sidewalks. The surrounding streets have art supplies, framing, and canvas stretching services. It is a biosphere for painting.
Much of what you see strolling Dafen are copies. Van Gogh, Rembrandt, Monet, Picasso – even Keith Haring and Warhol copies sit alongside Chinese favorites Yue Minjun and Chen Wenling. Another big part of what you see is what I call lobby art. The art you see at hotels and office buildings; generic landscapes, florals, abstracts, elephants etc. The art you never notice, because it’s designed to be completely unobtrusive. It only exists because it stands out even less then a completely bare wall. Lastly, there are custom portraits. Wandering through Dafen, you’ll see 40 painters a day staring at cell phone screens, painting wedding and family portraits. I was amazed at how efficient and accurate many of then were. Considering many of them have probably painted 10 hours a day for the past 15 years, it would stand to reason. Painting there seems to be treated more as skilled labor and a source of income than it is as art. The painters range in talent from pretty awful to damn near masterful. The painters at Dafen are like the “Shanzhai” of art. Creating inexpensive knockoffs for a market with more limited budgets.
I decided to do an experiment at Dafen Village to help me better understand Shenzhen as a city. I brought a poster I had designed to Dafen and hired a painter to copy it. It was a poster I had designed years ago, and as a street artist, I had wheat pasted on countless walls around the world.
I chose the poster for specific reasons; first, it had been created on a computer and had never actually been painted before. Secondly, it was mass produced on a web press, an inexpensive printing method generally used for newspapers. The evolution of knockoffs usually takes something of a relatively high quality and reproduces it in a cheaper or lower quality manner. My experiment was the opposite. I took a cheap mass produced poster and commissioned a hand-painted oil painting on canvas. The mere act of copying it in this manner would create something new.
I chose a small painting stall at random from the hundreds of shops in Dafen. Inside was a man in his early 20’s. I showed him the poster I wanted copied. Let me preface this by explaining that I speak zero Mandarin, and these painters, for the most part, speak zero English. However, this was 2018 and technology had already solved this problem. WECHAT, the most popular texting app in China, has a built in translator, so here’s how it works: you walk into a shop and display your wechat QR code on your phone. The shop owner scans it, and you become “friends”– now you can talk. When you type the shop owner a message, they can read it in Chinese, and when they reply, you can read it in English. It’s an odd interaction. You’re standing 18 inches from someone, both looking at your phones texting back and forth. It may seem impersonal, but 20 years ago we would not be able to communicate at all and this entire experiment wouldn’t be possible. We agree on a price of $55 USD to make the painting. He tells me it’ll be done in about a week and he’ll text me. Five days later I get a message. The painter boastfully tells me he is finished and the effect is PERFECT!
It was better than expected for $55 and the cheap poster was now an oil painting on canvas. By copying the cheap poster, we had actually created something of greater value. The evolution needed to continue though. I walked about 2 blocks, picked another random shop and handed the shop owner my newly received painting along with my phone displaying my QR code. “Can you copy this?” I text. He nodded and quoted me a price. The second painter was now making a copy of a copy. I did this for 7 weeks, picking up each subsequent copy and turning it over to another painter. The third painter copied the second version, the fourth painter copied the third version, and so on. By the sixth painting, I had something very different than what I started with. Even when the goal was to produce a facsimile, we unavoidably, either through miscommunication, artistic license or bad technique, had moved far from the original.
A friend in China warned me that if I took work to be copied at Dafen it was likely they would continue to copy it. That seemed unlikely to me. I responded, however, “Wouldn’t that be great? The image would continue to evolve and change in ways I would never have considered”. The artist in me appreciates the philosophy of the “Shanzhai” because within it exists the core understanding that imitation fosters innovation. Imitation is a cornerstone of learning, particularly to anyone who’s studied art. My time in Shenzhen forced me to examine these ideas both in art and in the discourse about intellectual property. At the core of both, there is merely an idea. Ideas should not be heirlooms tucked away and preserved or only occasionally observed. Ideas, should be more like children. Something we give the best of ourselves to and send out in the world to change and grow in ways we never imagined. When we look condescendingly upon the forger, or the counterfeit object as a desecration of the original, we are ignoring the possibility of evolution or innovation. We are ignoring that as individuals, or as a generation even, we have finite resources to cultivate an idea. For any idea to continue growing, whether it be cultural or technological, it will need to be taken up by the next individual or generation and fed a new source of perspectives, skill sets, and inspirations.
Shenzhen and it’s Shanzai philosophy are often debased by Western culture. Partially because, in my opinion, it audaciously stands as the apprentice positioned to surpass the master, in part, because it understands copying is the doorway to creating, if you choose to walk through it.
Type: Hand-Embellished Archival Pigment Print on 290gsm Moab Fine Art Paper
Size: 18 x 24 Inches
Edition Size: 40
Available HERE at 1XRUN
“Without Excuse” is a piece I made while I was at the Jardin Orange artist residency in Shenzhen, China in 2018.
I spent a lot of time in Shenzhen, roaming around abandoned buildings collecting old signs and posters and billboards. I don’t read Chinese, so I had no idea what was written on any of these things. I also never asked anyone to interpret any of it until pieces were completed. What I was trying to do was tell something about a place through what was discarded or left behind, while also juxtaposing that with some of my salvage portraits. Much of the material in this piece came from an abandoned office building at the beginning of August 2018. By the time I left Shenzhen, the building was well on it’s way to being apartments. Things change fast in Shenzhen.
The original piece is 50×66 inches (125 x 168cm) on a section of vinyl billboard I found being used as a tarp in the abandoned office building. The title “Without Excuse” comes from the line of small text just to the left of the figures head which literally says “Refuse to accept excuse” which was pinned to an office wall. The large main text in red and blue translates as “wonderful exquisite life”. Additional pieces collaged onto the piece read “Crane for rent”, “Make more money”, “Good business and prosperity”, and there is even a small newspaper headline about “President Xi”. In some ways these discarded things do describe the ethos of Shenzhen. Shenzhen was China’s first Special Economic Zone, an experiment by China with market capitalism. It is literally a manufactured city. In 1979 in was little more then a fishing village with a population of 60,000. 40 years later, it is a city of 13 million and the manufacturing center of the world. Shenzhen is at the center of China’s exponential economic growth. It is a boomtown like no other. In many ways the random text I collected illustrate the dream that Shenzhen presented; hard work, wealth, business development. In that sense, it was my most successful experiment in telling the story of a place by combining random discarded things. Things whose meanings were only told to me after the piece was finished. The addition of the Salvage portrait makes the piece a cautionary tale about the fragility of that unbridled growth. The age old boom to bust scenario that we never really seem to accept as more than coincidental or circumstantial.
Each of these prints have been hand painted and contain the number of the edition in Chinese characters at the bottom right corner. Near the left edge, the edition number is also painted into the existing background in English. Making these 40 variations was one of the most enjoyable studio projects I have done in recent years.
In the end of October of this year I lost my neighbor and friend of 25 years, Arthur Monroe. I met Arthur in 1994 when I was a kid and had recently moved into my live/work space in East Oakland. I liked Arthur right away, mostly because I was an arrogant over assured young man and Arthur saw right through it. He had an easy way about him and at the same time let you know that, in his opinion, you didn’t know shit about shit. Arthur was actually an important man, whereas I just thought I was. He’d drop names of friends you’d only read of in books, he knew the stories, and could sling some good bullshit. Arthur was an impressive painter and also the registrar at the Oakland museum.
Arthur was a big man he had an intimidating presence. Well into old age he’d haul stack after stack of wood up the stairs to fuel his wood burning stove. The owners of the building had long ago removed all the wood burning stoves from the building and forbid this type of heating. Except for Arthur, because they knew, as everyone did, you couldn’t tell Arthur what to do….ever.
Arthur was one of the first guys to organize artists in Oakland to petition the city and request that artists be able to occupy the vacant factories here. These were the first Live/Work spaces in Oakland. He had lived in the building since 1978. He knew every tenant who passed through in all those years, and all the stories. He was the building historian. When anyone had a question about what this place used to be, or who used to live here, the response was always the same, “You’d have to ask Arthur”. I remember one day leaving my studio to find Arthur and a fairly small Asian guy moving a Grand Piano up the stairs. They seemed a bit understaffed so I volunteered my help. The 3 of us moved that bitch one stair at a time until we got it to the top. It still sits in Arthur’s studio. Once you moved a Grand piano with a guy, no matter what disagreements may come in the future (and Arthur and I had plenty of disagreements) there is always a voice in the back of your head that says “he’s a solid guy, we may disagree, but he’s a solid guy”. I had that voice with Arthur and I suspect he had that voice with me.
I’ll miss sitting around the BBQ and hearing his stories, about the Korean war, about New York in the 50’s, about painting and about the never ending battle of citizens to assert their constitutional rights.
In recent years Arthur’s memory started getting a bit foggy. At first I could tell he was pissed. He’d come by my studio asking for a spare key because he’d locked himself out, seemingly agitated. Over time something really quite beautiful happened, he stopped being pissed. Not just about his memory, but about lots of things. He settled into his aging in an amazingly dignified way. He accepted it. Much of his bravado and combativeness evaporated until there was just Arthur. A delightful older guy, carrying a smile and pleasure to be around. Sure he was a bit foggy on the details, but ultimately, in those last years I felt I had a real privilege to see who Arthur really was. I was lucky to know him and I will miss him.
Rest in peace friend.
New salvage cans go on sale January 8th at 9am PST HERE. I made this series of cans when I was in China last year. I had been waiting for supplies to arrive for to start working on larger pieces. The residency where I was had kept all their empty spray cans. I started making these small pieces from the used spray cans. It wasn’t anything I planned, I just had an unexpected amount of free time waiting for my materials to arrive so I worked with what was available. I often make pieces from recycled materials for many reasons. First off I like that I am using material that would otherwise be discarded and end up in a landfill. Also there is a previous history to these objects. A purpose and a separate life that existed before they, by chance, ended up being used to create something new. Their discarded quality mirrors some of the characters i create in the Salvage portraits. It makes more sense to me than a piece of white canvas.
These are 15 individual pieces. They are not editioned multiples. Each is hand done and there is only one of each. They are signed and dated on the bottom of the can.