Disco Ball
Screen-print with crushed glass 11in x 11in edition of 14, 2006
Rats on a Bicycle
Screen-print with polychrome Crisco Rat manipulated, 2006
Cheese Bait
Pigmented Crisco Rat manipulated, 2006
de Kooning Devoured
Screen-print with pigmented Crisco Rat manipulated, 14in x 22in each, 2006
Trojan Horse
Screen-print with sugar and rat poison Rat manipulated, 14X17" each, 2006
Screen-print with sugar 5X8" edition of 13, 2006
Sugar Doughnut
Screen-print with sugar 21X18" edition of 16, 2006
Sugarcoated Biohazard
Screen-print with sugar 37X25" edition of 9, 2006
Caramel Cockroach
Caramelized sweetened condensed milk on aluminum 17X17" edition of 8 e.v., 2006
Dillingham Fountain #1 Screen-print with crushed glass 13x10" edition of 13, 2006
Dillingham Nocturne
Screen-print with crushed glass 13x22" edition of 12, 2006
Tinfoil Fountain (Thomas square)
Screen-print with glitter on silver foil 15X24" edition of 12, 2006
Screen-print with glitter on silver foil Edition of 5 e.v., 2006
Artists Trap
Assemblage with screen-print Edition of 5 e.v., 2006

Sugar Rats Disco – Artist's Statement, October 2006

Printmakers tend to be inventors, always tinkering with techniques. I think of my studio as a laboratory and design my art projects like experiments. My experiments for Sugar Rats Disco investigate the border between representation and the physical presence of objects. An assemblage is created when wet screen-printed ink is dusted with a powdery material. This flocking technique creates bas relief-prints.

Andy Warhol questioned the taste of high/low culture. I appreciate his innovative, anti-art, use of aluminum foil, silver Mylar and “diamond dust.” These sparkling eye-candy prints were inspired by the glitzy kitsch of urban taste (nocturnal fountains, sugar donuts, Waikiki, Warhol).

Some prints were produced in collaboration with urban wildlife. Rats manipulate these images as they devour/deconstruct some of the printed layers (like helper elves who visit in the night). This interaction with repulsive rodents continues a favorite theme of transfiguration, or the elevation of everyday nuisance to the sanctity of high art.

I was recently asked to change the title/description I submitted to make the labels of a recent exhibit. The precise language of science is poetic. Frank art/language describes empirical reality while also generating an emotional response. That’s why it is important to describe The Trojan Horse as a screen-print flocked with rat poison. “2[P-CHLOROPHENYL) PHENYLACTYL]-1,3-INDANDIONE” does not have the same emotional response as “poison.” Substituting “bone dust” for “cremains of Maile” denies the inclusion of a literal essence of the dead dog Maile. Marcel Duchamp was asked to rename his painting “Nude descending a Staircase #2.” Duchamp believed a compromise in language would undermine the concepts of his art. He refused to change the title and took his painting home. I choose to exhibit my work with the censored text. I hope the work can speak for itself.