Steven LaRose, Orientation 2009
Steven LaRose, Robots Got Nuthin' On Me 2009
Steven LaRose, Horizon Line 2009
I would pay money for an application that could change my avatar/profile picture/screen face across all my applications simultaneously.
Centric
Regurgitation
Shower
Syllogism Stage Right
That Boy Ain't Right
The Moment
Todd recently mailed to me a 14 inch square of wood that was from an old work space of his. The paint is 3/16th of an inch thick. Do I dare sand into it more? Or should I leave it as Todd has sent it? You can peruse a few of my postings that include Todd by clicking here.
What is new for this suite is that I actually made a jig and used two brads and glue in each corner. (And yes, those are slides you see stage left. I came across a sheet of images of student work from when I was teaching at the American Academy of Art in Chicago. Those were some talented and driven students).
In step three I removed the bars from the jig and placed a bead of glue around the edge. Next I place a slightly bigger sheet of luan over the bars and press down firmly wiping up any excess glue. With this method I no longer use brads to adhere the surface to the bars. I also figured out what those heavy black disks are for.
When the glue is dry, I break out my newest tool, the laminate trimmer! Happy happy joy joy.
I was able to finally rationalize purchasing the tool in order to make these tables for Stacy's new office.
I love my new laminate trimmer and I'm going to marry it. The next step, and final one in this installment is the back painting. Historically, I have used scrap paint for this. This time however I used Miller's Enamal Undercoat Interior, Sandable Acrylic tinted to a 40% gray.
Julia Fernandez-Pol, Untitled , 2007
Julia Fernandez-Pol, Introvert, 2008
Julia Fernandez-Pol, Pangaea , 2008-2009
After removing the chimney, I opened up one of the walls in my daughter's room. It appears that our house was remodeled by Dr. Frankenstein's stoner cousin. To the right is where the window was and in the middle is a section that had no insulation or vapor barrier, just exterior siding behind sheet rock. This explains why every season, ants would show up in this region of the house. But the bizzare thing is, notice how the left hand scabbed-in stud doesn't even reach the old header. 
Miso and Omeed were very helpful when it came time for the dump run.
"There's always a confusion implied between my materials and the way I manipulate them. The sterile, sleek, refined and clinical qualities of my cast, molded, and spilled acrylic polymers are filtered through the fluid, the organic, the chaotic, and the ornamental. Categorical shifts like these are very meaningful to me--much more so than the actual choice of physical material. I'm fascinated by the ways in which, for instance, my paintings can reference at once psychedelia, science fiction, modernism, the rococo, decadence, and hermetic texts--wholesome, natural beauty, and toxic, synthetic glamour." - Gordon Terry
If you don't believe that there only appears to be spirals of dayglo lime green and light cobalt blue in the image above, than you should go experience all eighteen of Marilyn Fenn's Color Theory Exercises. You should because the blue and green in the image above are identical (R=0, G=255, B=150). (link)
I could use some coaching with this one.
What I took away from our conversation:One's-Self I SingNext chance I get, I'm going to buy that book.
One's-self I sing, a simple separate person,
Yet utter the word Democratic, the word En-Masse.
Of physiology from top to toe I sing,
Not physiognomy alone nor brain alone is worthy for the Muse, I say
the Form complete is worthier far,
The Female equally with the Male I sing.
Of Life immense in passion, pulse, and power,
Cheerful, for freest action form'd under the laws divine,
The Modern Man I sing.
1. That all forms of imitation must be despised, all forms of originality glorified.
2. That it is essential to rebel against the tyranny of the terms “harmony” and “good taste” as being too elastic expressions, by the help of which it is easy to demolish the works of Rembrandt, of Goya and of Rodin.
3. That the art critics are useless or harmful.
4. That all subjects previously used must be swept aside in order to express our whirling life of steel, of pride, of fever and of speed.
5. That the name of “madman” with which it is attempted to gag all innovators should be looked upon as a title of honor.
6. That innate complementariness is an absolute necessity in painting, just as free meter in poetry or polyphony in music.
7. That universal dynamism must be rendered in painting as a dynamic sensation.
8. That in the manner of rendering Nature the first essential is sincerity and purity.
9. That movement and light destroy the materiality of bodies.
1. Against the bituminous tints by which it is attempted to obtain the patina of time upon modern pictures.
2. Against the superficial and elementary archaism founded upon flat tints, and which, by imitating the linear technique of the Egyptians, reduces painting to a powerless synthesis, both childish and grotesque.
3. Against the false claims to belong to the future put forward by the secessionists and the independents, who have installed new academies no less trite and attached to routine than the preceding ones.
4. Against the nude in painting, as nauseous and as tedious as adultery in literature.
We wish to explain this last point. Nothing is immoral in our eyes; it is the monotony of the nude against which we fight. We are told that the subject is nothing and that everything lies in the manner of treating it. That is agreed; we too, admit that. But this truism, unimpeachable and absolute fifty years ago, is no longer so today with regard to the nude, since artists obsessed with the desire to expose the bodies of their mistresses have transformed the Salons into arrays of unwholesome flesh!
We demand, for ten years, the total suppression of the nude in painting. 
