Endangered Species (2000)
3.4' x 2.6' Mixed media on canvas
SOLD
Modern Times (2009)
4' x 5.5' Mixed Media on canvas
In my Mother's House are Many Rooms (1994)
5' x 4' Oil on canvas
Lost Beneath the Power Lines (1997)
5.5' x 5' Mixed media on canvas
Requiem (1998)
5.5' x 5' Oil on canvas
Hidden Injuries (2000)
5' x 4' Oil on canvas
Who Will Save the Forest (1996)
depicts the competition of nature and
man-made forms.
4.8' x 5' Oil on canvas
We're Only Trying to Help You (1998)
4' x 6' Oil on canvas
Objects of Desire (1996)
5' x 4' Oil on canvas
The Path of Least Resistance (1990)
6.6' x 4.5' Oil on canvas
SOLD
Going Under (2014)
5' x 7' Mixed Media on canvas
Consuming Passion (1996)
6' x 4.5' Oil on canvas
Not for sale
Green Lake 1 (2002)
3' x 4' Mixed media on canvas
The Excluded (1999)
5' x 4' Oil on canvas
Cast Adrift on a Perilous Sea (2014)
4' x 5' Mixed media on canvas
Resist! (2003)
4' x 5' Mixed media on canvas
Floating Away (2016)
2' x 3.5' Mixed media on canvas
Re-Emergence (2015)
5' x 7' Mixed media on canvas
The Loneliness of the 21st Century (1995)
depicts the theme of ecological and social destruction caused by globalization, expanding empire, and neo-liberal policies. In this painting a crumbling infrastructure is depicted, as well as the marginalization of workers (in the bottom right corner, we see a crowd of people behind a gate—locked out). This brings to mind the way that our industries have been relocating factories in offshore locations.
7' x 4' Mixed media on canvas
Vengeance in the Eye of a Fascist God (1993)
was the first of my paintings to deal with migration. This painting was inspired by the crash of a plane into an apartment building in Amsterdam in the early 90s. It happened that the people living in this apartment building were mostly illegal migrants. It struck me that this was the cruelest of fates; hence the title. The painting shows the propeller of the plane, based on a photo of the propeller being lifted out of the sea. At the bottom of the painting is a figure being consumed, possibly by flames. About 40 people died in this incident, but many more were injured, and apparently also made ill by the sarrin gas which was apparently the cargo of this plane. To this day, no adequate compensation has been offered to these people.
5.5' x 4.5' Oil on canvas
Our Knights in Shining Armour (1999-2000)
was painted before anti-globalization protests began in earnest. I had seen an image of police in Indonesia, and was struck by how much the police resembled knights in mediaeval times. Ode to the Preservation of Democracy is perhaps my largest image, and was painted at the time of the Oka crisis in 1990. The title came from a comment of then Quebec premier, Robert Bourassa, who said that it was necessary to call in the army “to preserve democracy,” a concept which struck me as inherently contradictory. As history has shown, military interventions are increasingly justified on such grounds.
4' x 5' Mixed media on canvas
White Man Passing (2002)
I imagine a time before Europeans had arrived
in North America, and how nature might have responded with fear and trembling at the
prospect of what was going to happen.
4' x 5' Mixed media on canvas
Unnatural Disasters (1998)
depicts the theme of nature or the earth as a sentient being. It depicts the skeletons of fish, killed by a chemical spill in a river in Spain.
3' x 4' Mixed media on canvas
Engineering our Fate (1994)
depicts the same theme as in "The Loneliness of the 21st Century" (ecological and social destruction caused by globalization, expanding empire, and neo-liberal policies). A crumbling infrastructure is depicted here, with 3 figures walking out of the scene in the bottom right corner. They appear almost invisible, their relevance and participation in the society slowly disappearing.
8' x 5' Oil on canvas
In the Belly of the Beast (1998)
was inspired by a photo of the collapse of a shopping center in South Korea. My intention is to show the ravages brought on by economic policies which disregard human safety and well-being.
5' x 6' Mixed media on canvas
Structural Adjustment (2000)
was inspired by a collapsed hospital in Yugoslavia,
a result of war.
4' x 5' Mixed media on canvas SOLD
Myrddin's Return (1992)
speaks to the theme of collapse. I try to suggest at the same time that beauty can be found in these collapsed forms, that it may not be too late to bring about positive change.
5.5' x 3.5' Mixed media on canvas SOLD
We Make her Paint her Face and Dance (1991)
the theme of information technology (and their by-products of isolation and marginalization) is predominant: two wooden figures are trapped inside a machine. The machine is the metaphor for technology. This painting was also about the feeling that many women experience of being trapped by the expectations and structures of a patriarchal system. The title comes from a song by John Lennon, called “Woman is the Nigger of the World”, which he wrote after Yoko Ono talked to him about this experience of women.
5' x 6' Oil on canvas
Le Temps Perdu (1998)
4' x 2.8' Oil on canvas
SOLD
Yearning (2001)
4.6' x 5' Mixed media on canvas
SOLD
Green Lake 2 (2002)
3' x 4' Mixed media on canvas
SOLD
Good Job in the Bomb Factory (1992)
7' x 6' Oil on canvas
SOLD
Blood on the Tracks(1997)
3' x 4' Oil on canvas
Fight Back (2014)
5' x 6' Mixed media on canvas