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EVENTS
Upcoming Events
Tue, Apr 09Billy Penn Studios, PhiladelphiaApr 09, 2024, 7:00 PM EDT – Aug 31, 2024, 10:00 PM EDTBilly Penn Studios, Philadelphia, 1516 N 5th St, Philadelphia, PA 19122, USA
RSVP ClosedFri, Dec 08Billy Penn Studios, PhiladelphiaDec 08, 2023, 6:00 PM EST – Mar 25, 2024, 10:00 PM EDTBilly Penn Studios, Philadelphia, 1516 N 5th St, Philadelphia, PA 19122, USA
The Death MASKS
The Death Masks
PINs
Smoking Bacon
(A deadee Portrait of Francis Bacon)
2019
Oil on Linen
70"x40”
2019
Oil on Linen
70"x40”
Huf
2020
Charcoal, Air Brush on Paper
70"x40”
On Thursday, the 24th of September 2020, skateboarding lost a true luminary. Keith Hufnagel was more than just a skater; he embodied coolness in every sense. Huf skated with a simplicity that exuded total grace. For those in the know, he was the epitome of "Nah Pop No style". I first crossed paths with Huf during his inaugural skateboard tour of Australia, and although our encounters were few, our connection endured over the past 20+ years through a mutual friend. Learning of Huf’s condition left me disheartened, yet his unshakeable demeanor, brushing it off with ease, made me wonder if it was truly as serious as it sounded.
Keith, your unwavering support for my art will forever be cherished. Your likes and comments on my posts served as both validation and encouragement. 🙏 Huf, you leave behind a legacy as a skateboarding legend, and your absence will be deeply felt by many. Rest in peace, forever Huf. ✌️😔🖤🛹🖤
Charcoal, Air Brush on Paper
70"x40”
On Thursday, the 24th of September 2020, skateboarding lost a true luminary. Keith Hufnagel was more than just a skater; he embodied coolness in every sense. Huf skated with a simplicity that exuded total grace. For those in the know, he was the epitome of "Nah Pop No style". I first crossed paths with Huf during his inaugural skateboard tour of Australia, and although our encounters were few, our connection endured over the past 20+ years through a mutual friend. Learning of Huf’s condition left me disheartened, yet his unshakeable demeanor, brushing it off with ease, made me wonder if it was truly as serious as it sounded.
Keith, your unwavering support for my art will forever be cherished. Your likes and comments on my posts served as both validation and encouragement. 🙏 Huf, you leave behind a legacy as a skateboarding legend, and your absence will be deeply felt by many. Rest in peace, forever Huf. ✌️😔🖤🛹🖤
WGC VS HALS
(The Gypsy Girl in the louvre) 2019
Ink, Spray-paint and acrylics on paper
4”x4”
Ink, Spray-paint and acrylics on paper
4”x4”
WGC VS VINCENT
(The loon in Washington D.C)
2019
Ink, Spray-paint and acrylics, paper print on wood panel.
8x8”
Created after a recent pilgrimage to the hallowed halls of the National Gallery of Art in Washington D.C., my gaze fell upon Vincent Van Gogh's "Self-Portrait, 1889," a masterpiece that whispers secrets of the artist's soul. Dubbed the "Washington D.C. Vincent," this enigmatic self-portrait remains one of Van Gogh's final brushstrokes on the canvas of his tumultuous existence. Birthed during his voluntary internment within the confines of an asylum, it predates a harrowing descent into the abyss, a descent attributed to a myriad of conjectures—bipolar manic-depressive disorder, schizophrenia, or perhaps even the toxic embrace of alcohol—but now shrouded in the veils of suspected epilepsy.
In the aftermath of this tempestuous collapse, Van Gogh, akin to a solitary star cloaked in the darkness of his turmoil, sought solace within the sanctuary of his studio, a refuge untouched by the outside world, reminiscent of many artists experiences during the Covid-19 lock-ins of our modern age. Within this cocoon of seclusion, he breathed life into two haunting self-portraits, one finding its dwelling amidst the grandeur of the Musée d'Orsay in Paris, with the other, the "Washington D.C. Vincent," found its home among the bustling corridors of the American capital.
In a letter to his confidant and brother, Van Gogh peeled back the layers of his artistic endeavor, revealing the inner struggle that fueled his creative passion. "So I am working on two portraits of myself at this moment—for want of another model—because it is more than the time I did a little figure work. One I began the day I got up; I was thin and pale as a ghost," he confessed, capturing the essence of his existential quest upon the canvas.
Amidst the maelstrom of self-reflection, Van Gogh's words echo through the ages, resonating with the eternal struggle to grasp one's own essence. "They say—and I am very willing to believe it—that it is difficult to know yourself—but it isn't easy to paint yourself either," he mused, encapsulating the enigmatic dance between the self and the canvas, a waltz, that continues to mesmerize and elude us to this day.
2019
Ink, Spray-paint and acrylics, paper print on wood panel.
8x8”
Created after a recent pilgrimage to the hallowed halls of the National Gallery of Art in Washington D.C., my gaze fell upon Vincent Van Gogh's "Self-Portrait, 1889," a masterpiece that whispers secrets of the artist's soul. Dubbed the "Washington D.C. Vincent," this enigmatic self-portrait remains one of Van Gogh's final brushstrokes on the canvas of his tumultuous existence. Birthed during his voluntary internment within the confines of an asylum, it predates a harrowing descent into the abyss, a descent attributed to a myriad of conjectures—bipolar manic-depressive disorder, schizophrenia, or perhaps even the toxic embrace of alcohol—but now shrouded in the veils of suspected epilepsy.
In the aftermath of this tempestuous collapse, Van Gogh, akin to a solitary star cloaked in the darkness of his turmoil, sought solace within the sanctuary of his studio, a refuge untouched by the outside world, reminiscent of many artists experiences during the Covid-19 lock-ins of our modern age. Within this cocoon of seclusion, he breathed life into two haunting self-portraits, one finding its dwelling amidst the grandeur of the Musée d'Orsay in Paris, with the other, the "Washington D.C. Vincent," found its home among the bustling corridors of the American capital.
In a letter to his confidant and brother, Van Gogh peeled back the layers of his artistic endeavor, revealing the inner struggle that fueled his creative passion. "So I am working on two portraits of myself at this moment—for want of another model—because it is more than the time I did a little figure work. One I began the day I got up; I was thin and pale as a ghost," he confessed, capturing the essence of his existential quest upon the canvas.
Amidst the maelstrom of self-reflection, Van Gogh's words echo through the ages, resonating with the eternal struggle to grasp one's own essence. "They say—and I am very willing to believe it—that it is difficult to know yourself—but it isn't easy to paint yourself either," he mused, encapsulating the enigmatic dance between the self and the canvas, a waltz, that continues to mesmerize and elude us to this day.
The Eschaton, on pause till tomorrow.
2020
Acrylic, Pastel, Spray-Paint & Charcoal (from the Australian bushfires)
44”x30” (111.76cmx76.2cm)
Philadelphia USA
Acrylic, Pastel, Spray-Paint & Charcoal (from the Australian bushfires)
44”x30” (111.76cmx76.2cm)
Philadelphia USA
Observation 23: The Last Cig
2018
Acrylic on Wood Panel
10"x10"
My painting submission (Left) for the BARNES FOUNDATION Let's Connect exhibition, is a response to Pierre-Auguste Renoir’s pastel artwork Two Nudes, c. 1897 (BF154). Renoir’s small, simple but fascinating artwork left me wondering, What were these two nude women actually doing? Dancing? Making love? Wrestling? The ambiguity set my mind racing and the image lingered with me well after leaving the Barnes. Later that evening whilst walking home through the city centre and past the Board Game Art Park or “The Pit” as the local Philly skateboarders like to call it, I witnessed an argument between two women whom appeared to be suffering from a substance abuse disorder. Their argument quickly turned violent over who would get to smoke the last cigarette. This quickly resulted with the pair wrestling to the ground and mirroring with uncanny accuracy the rolling pose of Renoir’s two nudes. This juxtaposition of Renoir’s artwork, the pit fighters and the coincidental link to “smoking a cigarette”, a theme common within many of the artworks of Barnes collection, all helped culminate this painting study that I’ve titled Observation 23: The Last Cig.
Acrylic on Wood Panel
10"x10"
My painting submission (Left) for the BARNES FOUNDATION Let's Connect exhibition, is a response to Pierre-Auguste Renoir’s pastel artwork Two Nudes, c. 1897 (BF154). Renoir’s small, simple but fascinating artwork left me wondering, What were these two nude women actually doing? Dancing? Making love? Wrestling? The ambiguity set my mind racing and the image lingered with me well after leaving the Barnes. Later that evening whilst walking home through the city centre and past the Board Game Art Park or “The Pit” as the local Philly skateboarders like to call it, I witnessed an argument between two women whom appeared to be suffering from a substance abuse disorder. Their argument quickly turned violent over who would get to smoke the last cigarette. This quickly resulted with the pair wrestling to the ground and mirroring with uncanny accuracy the rolling pose of Renoir’s two nudes. This juxtaposition of Renoir’s artwork, the pit fighters and the coincidental link to “smoking a cigarette”, a theme common within many of the artworks of Barnes collection, all helped culminate this painting study that I’ve titled Observation 23: The Last Cig.
MELBOURNizms
Melburn'izms
As darkness encroaches within 6°c
2017
Oil on Canvas Panels
27"x21"
Artists collection
Oil on Canvas Panels
27"x21"
Artists collection
When time isn't up.
Margaret Olley
{after John Mcrea}
2015
Watercolour pencil on paper
20x14cm
{after John Mcrea}
2015
Watercolour pencil on paper
20x14cm
Goodbye Horses I'm flying over you
2015
Backlit Print of Digital Painting
16"x16"
Private collection
Backlit Print of Digital Painting
16"x16"
Private collection
The Hon Jeff Kennett AC Reflecting Up & Down
2014
Oil on Belgian Linen
77"x44"
AmtekCorp collection
Oil on Belgian Linen
77"x44"
AmtekCorp collection
The Hon Jeff Kennett AC Reflecting Up & Down
Detail
In Vincent We Trust
2014
Watercolour on Cotton Rag Paper
10"x8"
Private collection
Watercolour on Cotton Rag Paper
10"x8"
Private collection
More Ormond Please
2015
Linocut on Cotton Rag Paper
7"x4"
Private collection
Linocut on Cotton Rag Paper
7"x4"
Private collection
Then & Now Bent P O L I T I C I A N $
Portrait Of sir Thomas Bent (22ed Premier of Vic).
2014
Linocut on Cotton Rag Paper
7"x4"
Private collection
2014
Linocut on Cotton Rag Paper
7"x4"
Private collection
IS the drug of the nation
2014
Oil on Linen
14"x14"
Private collection
Oil on Linen
14"x14"
Private collection
Portrait of Rachael Milfull
2014
Oil on Linen
20"x16"
Private collection
Oil on Linen
20"x16"
Private collection
Portrait of Rachael Milfull
Rachael and I in front of her portrait.
J.K. Inner Space
(The Hon Jeff Kennett AC)
2013
Charcoal on Bainbridge Board
16"x15" (40 x 36cm)
Private collection
2013
Charcoal on Bainbridge Board
16"x15" (40 x 36cm)
Private collection
JK Sketch #2
The Hon Jeff Kennett AC
2013
Charcoal drawing (Procreate)
2013
Charcoal drawing (Procreate)
JK Sketch #1
The Hon Jeff Kennett AC
2013
Charcoal drawing (Procreate)
2013
Charcoal drawing (Procreate)
J.K. PINZ Portrait
(The Hon Jeff Kennett AC)
2013
Procreate - Charcoal, Pastel, Acrylics on Cotton
16"x16" (40 x 40cm)
Private collection
2013
Procreate - Charcoal, Pastel, Acrylics on Cotton
16"x16" (40 x 40cm)
Private collection
Composition #23 The fleeting moment
2013
Oil on Canvas
8"x10"
Artists collection
Oil on Canvas
8"x10"
Artists collection
Composition #20
2013
Oil on Canvas
8"x10"
Artists collection
Oil on Canvas
8"x10"
Artists collection
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