fortunatopaul31

CIRCULAR TIME: CHAPTER 2

Here are the highlights of my recent solo exhibition in Daejeon, Republic of Korea.

Mommy? Daddy? Will painting ever dAI? 2025, acrylic on linen, 47 X 80 in., 117.5 X 199 cm.

An abstract painting featuring two toy race cars on a swirling, textured surface, with vibrant colors and an inscription reading 'We have a game to catch!'

ANOTHER DAY AT THE RACES, 2025, acrylic and toys on linen, 85.5 in., 250 X 221 cm.

A makeshift structure with a round, painted surface, supported by two bicycle wheels, featuring small toy cars on top, surrounded by overgrown vegetation and discarded items.

The apparatus I set up outside to create ANOTHER DAY AT THE RACES.

Close-up of an abstract artwork featuring a red toy car seemingly embedded in textured paint swirls on a wall.

Detail

A view from above showing a painting surface with swirling blue paint, featuring a black toy car and a red object, positioned on a wooden floor and a blue painter's scaffold.

Detail

MAKING LOVE TO THE SPIDER WOMAN, 2025, acrylic on linen, 88X65.25 in., 223X165 cm.

Close-up of a decorated surface featuring abstract black and white patterns with a prominent circular element made of shiny beads and colored accents.

ANT, 2025, acrylic and plastic elements on linen with wooden frame, 63X42X6 in.,159X106X15 cm.

A colorful abstract painting featuring a figure with a bare torso, holding a sun symbol with the text 'Go ahead. Block me. See if I care.' and a label reading 'SPF 50' at the bottom.

BLOCK ME, 2025, acrylic on linen, 65X67 in., 166X170 cm.

A mobile medical apparatus depicted in red and white outline on a black background, highlighting its intricate design and components.

BLOOD, 2025, acrylic on linen and plywood, 70.5X39 in., 179X100 cm.

An abstract artwork featuring a structured white frame with a cut-out section revealing a textured, rust-colored form positioned at an angle.

CALIGULA, 2025, found metal flattened by car traffic, mounted in a foam core window, Frame size is 33.5X23.75 in., 85X61 cm.

A textured artwork featuring a hand reaching towards a dried fish, set against a black background with abstract blue lines.

CAT AND FISH, 2025, acrylic on linen with dried fish, 29.5X29.75, 75X55 cm.

Abstract artwork featuring a central black circular form with textured swirls, accented by white and blue streaks against a dark background.

CAT EYE, 2025, acrylic and toy on linen, 65X117in., 164X297 cm.

A large abstract painting featuring predominantly black and white textures, with a three-dimensional element resembling a construction vehicle mounted on it.

A colorful artwork featuring a coelacanth fish with bold text and abstract background elements.

COELACANTH, 2025, acrylic and fabric on cotton canvas, 28X72 in., 72X183 cm. This piece was made from the recycled banner that hung outside the gallery for my solo show last year, Chapter 1.

Exterior view of a red brick gallery building with large windows, featuring banners for an exhibition titled 'CIRCULAR TIME: Chapter 1' by Paul Fortunato, along with a cobblestone path and a parked car.

Banner displaying the title 'CIRCULAR TIME: Chapter 1' by Paul Fortunato, promoting a solo exhibition of drawings, paintings, and 3D works.

A large abstract painting of a bee with bright orange and gray backgrounds. The bee features exaggerated colors and forms.

DOUBLE-HEADED FLY, 2025, acrylic on linen, 66X90 in., 166X227 cm. This painting was started in 2022.

C2: Retribution, 2025, an abstract artwork featuring bold colors and patterns, predominantly red and orange, on a dark background.

C2: RETRIBUTION, 2025, acrylic on plywood mounted on sheet metal, 53X19.5 in., 135X50 cm. These days my vomit is bright orange, with disgust and outrage.

A provocative mixed-media painting featuring abstract figures and text elements, with a strong focus on expressive color and composition.

DYING GAUL, 2025, acrylic on linen, 65X91 in., 166X211 cm. This piece was started in 2022 and was revised for the show, almost completely obliterating the ‘bad’ painting underneath.

Abstract painting featuring bold colors and intricate patterns, depicting a circular form with vibrant lines and textures.

EYE, 2025, acrylic on table top section, 35.25X37.5 in., 89X95 cm. I cut a circle in the panel, then rotated it 180 degrees, as per the arrow markings, to create the pupil pocket on the right side.

A vibrant and abstract artwork titled 'Family Crest,' featuring a mixture of colors and textures, accompanied by the quote 'Remember Paul, familiarity breeds CONTEMPT.'

FAMILY CREST, 2025, acrylic on linen, 55X78.5 in., 140X90 cm. This was originally a completed vertical painting from 2018 that I felt was dumb but served as the perfect back drop to the new one. My childhood memories, good and bad, have always been fertile ground for subject matter.

A painting featuring a peace symbol shaped like a pizza, with the text 'Give Pizza A Chance' above it. The artwork uses vibrant colors and textures, depicting swirling patterns within the circular design.

PIZZA ON EARTH, 2025, acrylic on linen collaged onto cotton canvas, 56X29.5 in., 179X100 cm.

GOOD TIMES, 2025, acrylic and fabric on linen, 59.5X36 in., 150X91 cm.

Abstract painting featuring a textured brown background with green and white markings, framed with pieces of wood.

HAIRY BACK, 2025, acrylic and cedar chips on found bulletin board from which I ripped off the felt lining, 43.5X31.5 in., 110X80 cm.

A close-up view of a green snake's head surrounded by a chain-link fence, featuring vibrant colors and abstract patterns in the background.

HEAD OF A SNAKE, 2025, acrylic and chain link fence on plywood, 42.5X83.25 in., 108X211 cm.

Mixed media artwork titled 'EIGHTEEN' featuring layered colors, an abstract depiction of a green vehicle, and an American flag, reflecting themes of identity and adolescence.

I’M EIGHTEEN, 2025, a diptych, acrylic on velvet and linen with car radiator and wood element. 50X113 in., 130X288 in. This piece is about me losing my virginity at eighteen, and the title of Alice Cooper’s song. I met a girl on the subway on my way to school as an undergrad, started dating her, and fell in love. Such is the magic of New York and the game of love as a youngster. The left panel is my dismal life on the moon, alone, and on the right, the first flourishes of green exuberance after having sex with a girl for the first time. I am fucking alive after all.

An artist's worktable featuring a printed American flag, a radiator, tools including a screwdriver and a bottle, and a calculator, with the artist's hand working on the radiator.

EIGHTEEN in progress in October 2024.

A detailed illustration of a record player with a focus on the turntable, featuring a Van Halen record titled 'Jump', alongside labeled components like a replacement needle and a disc washer.

JUMP, 2025, acrylic, with plywood and metal elements, on panel. 55X48X6 in., 139X127X13cm.

Artwork titled 'HUNTSMAN SPIDER', 2025, featuring mixed media elements including a dragonfly, snail, and other objects arranged on a dark background.

JUNK DRAWER, 2025, acrylic, guitar neck (for the dragonfly abdomen), sunglasses, baseball sections, shoe sections (for the fly head) and office detritus on plywood. 37X72.75X3.5 in., 93.5X188X9 cm.

A mixed media artwork depicting a chaotic scene with figures, vivid colors, and abstract elements, capturing an intense emotional moment.

KKKUNT SSTATE(Returning The Page), 2025, acrylic on linen and panel cutout, 72.5X77 in., 184X197 cm. Based on the photograph by John Filo of the Kent State shooting. Elon Musk is seen upside down sprouting orange hair. The student is also a symbol of our institutions being bled if they don’t comply with the self interests of this corrupt administration.

KNOWLEGS, 2025, acrylic on linen, 64X85.5 in., 165X217 cm. A reflection on my time recovering from double knee replacement and how it felt, over 3 years ago.

Artwork featuring the title 'The Cardigans' with stylized lettering above an abstract fiery orange background, conveying a dramatic and intense atmosphere.

THE GODZILLA, 2025, acrylic on linen, 76.5X82.5 in., 190X210 cm.

A mixed media artwork featuring a dark background with a textured, abstract landscape in gold and beige tones, and outlined figures at the bottom engaging in various activities.

LANDSCAPE WITH SPATIAL DEPTH REVERSAL, 2025, acrylic marker on panel with plywood and relief element, 28X20 in., 71X51 cm.

A colorful painting titled 'MANTIS OF THE YEAR' featuring a stylized green mantis with prominent eyes and vibrant elements in orange and red.

MANTIS OF THE YEAR, 2025, acrylic on linen, 59X72 in., 150X183 cm.

A colorful painting titled 'Mickey Mantis' features a green mantis character, depicted in an expressive pose with white gloves, in front of a bright yellow background. The top includes the text 'Mickey' and 'Mantis,' with 'GREATEST HITS' written prominently.

MICKEY MANTIS, 2025, acrylic on linen with collaged canvas. 65.5X100.5 in., 166X255 cm.

A colorful illustration showing a person in a green outfit walking in a rainy environment with a guitar, alongside a text that says 'FIND ME AN APARTMENT NOW!' and other background details like trees and signs.

MY MOTHER, THE BAGLADY IN 1984. 2025, acrylic on linen, 27.5X78.75 in., 70X199.5 cm. This was originally a vertical painting from around 2020 that I used as a backdrop to the new one. It refers to a dark chapter in my life when my mother was abandoned by my dad and left on the street like a bag of potatoes. The fallout from my father’s mistake impacted my life for the next 30 years. Here I am in Bayside, NY, going to realtors, desperately trying to get her a place, while she trails behind, psychotic, and filled with rage.

A top-down view of a circular, textured, brown surface with a small toy car positioned in the center, creating intricate spirals in the paint.

MUD, 2025, acrylic and toy on linen, 88.5X72 in., 227X182 cm.

A black cat lying on a spiraled surface made of reddish material, with a toy car nearby, and greenery visible in the background.

Artwork titled 'The Mummy's Return', featuring hands holding paperwork and an eye symbol, with painted lines in the background.

THE MUMMY’S RETURN, 2025, acrylic, fabric and paper on linen with wooden frame, 40.5X33 in., 103X84 cm.

A bold and expressive painting titled 'Painting with Bob Ross,' featuring vibrant colors and dynamic brushstrokes, depicting a figure holding a paintbrush against a vivid background.

PAINTING WITH BOB ROSS, 2025, acrylic on linen, 78.5X55 in., 199X140 cm.

A colorful acrylic artwork depicting hands with exaggerated features, holding a pen and a piece of paper. The phrase 'Thank you' is written prominently on the surface, with stacks of cash visible below. The background consists of wooden paneling.

THE PINK PAINTER, 2025, acrylic on linen over wood panel. 59X83 in., 150X210 cm.

A colorful illustration featuring a jellyfish under water, with bands labeled 'PHISH' and 'With Special Guests: MAN'O'WAR.' Silhouettes of an audience are visible at the bottom.

POSTER FOR A FICTITIOUS CONCERT, 2025, acrylic and string on linen and plywood, 71X39.25 in., 179X100 cm.

A painting depicting four stylized fish resembling sturgeons, with textured scales and colorful details over a dark green and brown background.

REMORAS, 2025, acrylic and HEPA filters on linen, 82.5X59 in., 210X151 cm.

A mixed media painting featuring a human figure partially obscured, surrounded by a series of radiating lines and swirling patterns in dark and green tones.

IS ZACH FEUER LOOKING AT SLIDES? 2025, acrylic and 35mm slides on linen, 47X46.5 in.,119X117 cm.

Self-portrait with headphones, featuring a line drawing style and a blurred background.

SELF PORTRAIT, 2025, acrylic and black mold on foam core panel. The black mold is sealed into the surface with acrylic medium. 52.5X48 in., 134X121 cm.

A mixed media self-portrait featuring a face split between a wooden texture and painted details, with headphones, on a textured black background.

SELF PORTRAIT, 2025, acrylic on plywood, 28X20 in., 71X51 cm.

A dark abstract painting featuring a skull-like face with red eyes, set against a black background.

SELF PORTRAIT (DAWN OF THE DEAD), 2025, acrylic on linen, 47X45 in., 121X115 cm.

Abstract artwork featuring a face design, predominantly in black paint with a textured, white background and a three-dimensional black leather element.

SEND IN THE CLOWNS, 2025, acrylic and pediatric walker cushion on panel, 35.5X35.5 in., 90X90 cm.

Artwork titled 'Masoasaur Sternside' featuring a kayak and figures illustrated on a textured background. The piece includes handwritten text questioning directional choices.

SHIP OF A STATE OF FOOLS, 2025, acrylic on floor mat section, 23X29.5 in., 57X75 cm.

Abstract painting featuring a swirling spiral design in shades of white and gray, with textured detailing in the center.

VORTEX (CLIMATE CHANGE), 2025, acrylic on linen, 64X73 in., 163X189 cm.

Mixed media artwork featuring an abstract arrangement of colorful materials, including threads and plastic components, with the text 'How was your summer Paul?' integrated into the design.

MY SUMMER BREAK, 2025, acrylic and electronic components on plywood. 35.75X23.75, 90X60.5 cm.

An abstract painting featuring concentric circular patterns in shades of blue and purple, with a vibrant yellow background. A small red toy car is positioned towards the upper left of the image.

THAT’S ALL FOLKS, 2025, acrylic and toy on linen, 89.5X72 in., 228X182 cm.

An abstract art installation featuring a red toy car mounted on a textured wall with various shades of green and blue currugated patterns.

Detail

A stylized drawing of two feet in shoes resembling musical instruments, titled 'Elton John Tiny Dancer.' The artwork features a black background with white outlines and colorful details.

DANCER, 2025, acrylic on framed plywood, 33.5X23.75 in., 85X60 cm.

Artwork depicting a figure resembling a turtle with an abstract human figure, embellished with orange plastic balls, on a wood panel.

TURTLE WOMAN LAYING EGGS, 2025, acrylic, black mold and ping pong balls on framed plywood, 23.75X33.5 in., 61X85 cm.

An abstract painting featuring two toy trucks surrounded by swirling blue and white paint, creating a vortex effect.

VORTEX 2, 2025, acrylic and toys on cotton canvas, 78X96 in., 195X243 cm.

A close-up of a green toy cement mixer truck and a yellow toy truck positioned on a textured, blue, swirling painting that depicts a dynamic scene.

A close-up view of an art installation featuring toy trucks on a textured, swirling blue and colorful paint surface, with a high ceiling and soft lighting in the background.

A line drawing of a muscular figure holding dumbbells, set against a weathered white background.

MOLDY GIRL, 2025, marker and black mold on foam core panel, 81X48 in., 206X121 cm. This large drawing was improvised from the random pattern of black mold that had accrued on a panel left outside for a whole summer. The whole surface was sealed with acrylic medium.

A physical world map showcasing continents and oceans, with labeled geographic locations and a faded textured background.

WORLD MAP, 2025, acrylic and black mold on foam core panel. 48X96 in., 121X244 cm. The ‘map’ was improvised from the random growth of black mold on a panel left outside for a whole summer. To what appeared to me a physical map of the Earth, I added latitude and longitude coordinates and basic labels.

Artwork featuring a whimsical scene with a crab and various characters on a wooden panel, incorporating text elements like 'W.T.F.' and 'HELP!' amidst a beach background.

WTF? 2025, acrylic, cat hair and Scrabble word on floor mat section, 29.5X40 in., 74X100 cm.

WHERE AM I? 2025, acrylic and toy on linen, 76X83 in., 194X212 cm.

An abstract painting featuring two figures in front of swirling shapes and text that reads 'YOU'RE work is OK, the problem is YOU'RE still ALIVE.' The background is a mix of blue and vibrant colors.

YES, 2025, acrylic on linen, 45.75X42.5 in., 166X171 cm.

Artwork titled 'YO', 2025, featuring abstract elements with a blue and green background and text reading 'You don't know shit about Dick' in a white and green circular design.

YO, 2025, acrylic and relief elements on linen with wooden frame, 41X30 in., 105X76 cm.

Artwork titled 'Needs Deal Sweetener' depicting colorful abstract forms with text elements, featuring green and yellow imagery and ice cube motifs.

UNTITLED (TOO MANY DIRECTORS), 2025, acrylic on linen with plastic elements, 52.5X78 in., 130X200 cm.

EPILOGUE: THE NOT SO FUNNIES

An expressive illustration of a person standing at a kitchen sink, depicted with exaggerated features. Background elements include a window and kitchen utensils. Handwritten text above the figure reads, 'He seemed pretty chipper after the election. Is he a republican?' with additional words made from Scrabble tiles stating, 'NOT SURE, NOT SURE OF ANYTHING NOW.'

A chaotic illustration depicting a crowded scene with various characters holding signs, featuring two green figures in conversation, one expressing frustration and the other suggesting to leave.

A humorous illustration featuring animals at a table, with a pig, a bear, and a man making food orders. The bear is reading a menu, while the pig requests 'Oligarlic Sausage and another pint.'

'Aunt' Margaret, are there termites that can eat steel? Illustration of a child with a questioning expression, looking towards a steel beam.

A mixed media artwork featuring abstract figures with bold colors, expressive brushstrokes, and text reading 'My meeting with the scum bag went super well.' The background is a mix of yellows and reds with layered textures.

THE BEST 3D WORKS OF THE SHOW

Side view of an orange and black artwork placed on an easel, against a wooden floor.

THE SHADOW, 2025, acrylic on cotton with stretchers.

A close-up view of a three-dimensional sculpture resembling a spider made of wooden parts and clothespins, displayed in an art gallery with colorful paintings in the background.

An abstract sculpture suspended in an art gallery, featuring wooden elements and a dark circular form, with colorful paintings visible in the background.

A large spider sculpture made from wood and other materials, positioned against a wall with an abstract background painting in a gallery setting.

Three views of HUNTSMAN SPIDER, 2025.

ALL IMAGES © COPYRIGHT PAUL FORTUNATO 2025

https://www.instagram.com/fortunatopaul31/?hl=en

Paul Fortunato’s Circular Time: Chapter 2 Exhibition

CIRCULAR TIME: CHAPTER 2

Artist Paul Fortunato revisits the concept of time and memory through painting and sculpture.

Opening August 26 at Daejeon Gallery, the show focuses on identity, nature and mortality, with over 100 works.

Daejeon, Republic of Korea- August 4, 2025

Contemporary artist Paul Fortunato will debut his newest solo exhibition, “Circular Time: Chapter 2” at Daejeon Gallery in Daejeon on August 26, 2025. The show explores the overlapping themes of childhood memory, loss, nature and time through drawings, paintings, sculpture and wall reliefs. The exhibition runs through September 2.

This show marks Paul Fortunato’s fifth solo show in Korea, and is a follow up to “Circular Time: Chapter 1”, last year. Nearly 3 years ago the artist underwent double knee replacement. With “Chapter 1” he was only partially recovered. “Chapter 2” is both a celebration of the full return of his personal and physical strength and a reflection on the fragility of life. The sprawling show is inspired by the interwoven themes of childhood memory, a life engaged in making art, and a deep reverence for nature. Many of the works are based on direct observation of the plants and animals living wild in and around his house/studio. The work also engages the fraught relationship between our planet and the forces of it’s exploitation.

“In this age of AI fixation, I am more of an anachronism than ever. The show is my stubborn affirmation of the immortality of something hand crafted with intelligence, that is unforgettable to the viewer, and makes one think. Bring aspirin to the show. You will need it.”

Mediums: acrylic on linen, acrylic on panel, assemblage, drawing on panel, relief paintings with acrylic and attached objects.

Exhibition details: CIRCULAR TIME: CHAPTER 2

Dates: August 26, 2025 through September 2, 2025

Opening reception: August 30, Saturday, 1-6pm.

Venue: Daejeon Gallery, Jungyoro 56, Jung-gu, Daejeon, Republic of Korea

Hours: Tuesday – Monday, 10 AM- 6PM.

Admission: Free

About the Artist:

Paul Fortunato is a contemporary fine artist whose work explores the interwoven themes of childhood memory, nature, anthropology, paleontology and psychology. His work has been exhibited in New York, Italy and South Korea, and is part of several private collections.

Press contact:

Paul Fortunato

US: +1(680) 256-0099 Korea: +82(010)5061-2276

http://www.fortunatopaul31.com

My solo exhibition of paintings, drawings and wall reliefs opening this summer in Daejeon, Korea. The gallery is housed in a former gymnasium with a floor space of 319 square meters, or about 3400 square feet. There is not enough wall space to fit all the work, so this time I am bringing my own walls too.

Be there, or be NON-CIRCULAR.

I am pleased to have been featured in The Art World Post

https://www.theartworldpost.com/paul-fortunato-bridging-cultures-and-mediums-in-art/

CIRCULAR TIME: CHAPTER 1

Here are selected works from my recent solo show. Most of them are from the last 3 years, some going back to 2019.

With my new set I have returned to the love of drawing, whether it be in the traditional sense, or with acrylic painting or 3D objects on a surface. It’s all the same to me. It is playing with weights, counterweights, lines and pulleys on a flat surface. There were some fully 3D in the round pieces, but even those were about drawing in 3D space.

I often return to the theme of death. I reflect on my life, where I’ve been, and where and how it will end. A life is everything I’ve ever tasted, every friend I ever knew, every girlfriend I was ever with, every piece of music I ever heard. It is every time I felt ecstasy, pain, sadness and joy.

A life is filled with things we wish to forget, but that keep coming back, and things we can’t recall at all. A life is filled with all the stupid songs, jingles, advertisements, movies and TV shows that continuously circulate in our brains like ocean plastic, bobbing in and out of consciousness for no apparent reason.

I had a lot of time to think in 2023 as I recovered from double knee replacement surgery and a later, life threatening medical emergency.

Here’s what I thought.

ME? WHY SHOULD I BE AFRAID OF DEATH? I NEVER ACTUALLY LIVED. 2023 foam insulation block, washboard and marker on framed panel

OFFICE SOLUTIONS OF THE SERENGETI- WE DELIVER (FOR PEANUTS) 2023 line consolidator, acrylic and marker on damaged, framed poster on panel

FORCH, THE MUSICAL. NOW ON BROADWAY 2024 foam insulation blocks and acrylic on found banner.

MUD, PAPER TAPE WASP 2024 taping blades, wood cutouts and acrylic on panel

REVENGE OF THE SMURFS 2024 car panel with acrylic, masking tape and marker on panel

WHO WOULD LIKE MORE SPAGHETTI? 2024 guitar neck, wooden pegs, pc cables and marker on framed furniture crate panel

HOMAGE TO ROBERT IRWIN 2023 bleach damaged towel, acrylic and marker on canvas

TAYLOR SWIFT 2023 acrylic on canvas

CLOUDY DAY AT THE BEACH 2024 bleach damaged T shirt and marker on framed panel

FIERCELY DICK-HEADED 2023 acrylic on canvas with mirror on framed panel. A mirror mounted behind the hole in the canvas allows the viewer to see him/herself in the head of the ‘dick’.

METALLICA: FOR WHOM THE BELL TOLLS 2024 birch plywood cutout with marker and acrylic on framed panel

NEBUCHADNEZZAR AND THE VOLVIC UNDERGROUND 2024 acrylic on foamboard panel, with hemp mat attached to painting stretcher mounted on framed blockboard panel

JERRY VALE: SUNRISE/SUNSET traffic lane reflector lens with acrylic and marker on panel

DAVID BOWIE: LET’S DANCE 2024 hardwood cutouts with marker on framed panel

PRINCE AND THE REVOLUTION: PAISLEY PARK fabric with pencil, marker and passively deposited cat hair on muslin on framed panel

MEAT THE BEETLES 2024 acrylic on framed panel with bicycle wheel. A piece that was originally painted in 2018, never exhibited until this past show, that I finally found a use for.

CARIBOU 2023 oil on panel on framed panel

THE LEPIDOPTERIST’S WIFE 2024 marker on 1 inch thick found birch plywood (made in Russia), with bolt, mounted on framed panel painted with sumi ink. A lepidopterist, or butterfly specialist, reminds me of my childhood fascination with butterflies and all insects. Here I am the ‘lepidopterist’, and my wife, i.e., my life, is my art.

I NEVER UNDERSTOOD MY MARKET 2023 ventilation grill with marker and acrylic on panel. Here I am as a street vendor completely out of touch with an audience that is oblivious to what I am selling.

BLACK SABBATH: PARANOID 2024 acrylic and marker on linen, with wagon wheel, on framed blockboard panel. Originally painted in 2019, revisited in 2024.

I CAN’T TAKE MY EYES OFF OF YOU 2024 acrylic and marker on framed panel

RING OF FIRE 2023 colored pencil and oil pastel on watercolor paper mounted on framed panel

GIRL 1 2024 passive cat hair accumulation with pencil and marker on muslin on framed panel. Here my cats helped. This is 3 years of their rubbing up against a piece of muslin stapled to a door jamb.

UNTITLED 2023 acrylic on canvas with golf ball and chicken wire

LIGHTNING STRIKE 2024 bricks, pillow, marker and acrylic on framed panel

ENERGY 2023 plywood cutout and marker on destroyed poster mounted on framed panel

HEART ATTACK 2023 acrylic on canvas with parts cabinets and HEPA filters. This was the showcase piece in the show.

BURNING OFFICE BUILDING 1 2023 acrylic on shirt mounted on framed panel

THE DOCTOR WILL SAW YOU NOW 2024 acrylic and marker on solid poplar cutout mounted on framed panel

GAZING INTO THE ASSHOLE OF TIME 2023 oil pastel, acrylic and marker with solid hardwood cutout, eggshells and watch on destroyed poster on framed panel

ALL MY CONTACTS 2023 business cards, card organizer and marker on destroyed poster on framed panel

I AM NOT A COOK 2024 acrylic, marker and colored pencil on grey toned foam core over framed panel

BURNING OFFICE BUILDING 2 acrylic on shirt on framed panel

SMASHING PUMPKINS GREATEST HITS 2024 acrylic on linen with chicken wire

CHER: IF I CAN TURN BACK TIME 2023 acrylic and marker on line with reflective traffic lane lens

MOONLIGHT WALK 2023 marker on hollow core door section

ANY SUBMISSIONS THAT DO NOT INCLUDE A SASE WILL BE THROWN IN THE GARBAGE 2024 marker on wood panel, with marker on red felt on painting stretcher

HOW CAN I HELP YOU? latex rubber mattress section and marker on traditional Korean table top

COFFEE, TEA OR ME? 2023 acrylic, marker, drywall screw and tea bags on destroyed poster on framed panel

MENDING WALL 2023 acrylic and marker on destroyed poster on framed panel

BIGFOOT CROSSING 2023 hardwood cutout with marker on framed panel

GREEDY FUX 2024 acrylic and marker on moldy framed panel with mirror attached to reverse side. The viewer sees him/her self in the eye holes.

THE EGG LADY 2024 egg shells and egg carton on framed panel

WELCOME BACK MY FRIENDS TO THE SHOW THAT NEVER ENDS 2024 acrylic, marker and squeegee bracket on linen over framed panel

STOP, IN THE NAME OF ART, BEFORE I BREAK YOUR HEART (THINK IT OVER) 2024 acrylic and marker on linen

RAGE AGAINST THE MACHINE GREATEST HITS 2024 acrylic on linen. Originally painted in 2021 and revised in 2024

DAVID BOWIE: DIAMOND DIMETRODON DOGS 2024 marker and acrylic on linen

THE FUGITIVE 2024 acrylic and marker on linen

GIRL 2 marker and passive cat hair accumulation on muslin, recto and verso. This is the third work in the show where the cats helped. This piece of muslin was hung over the entrance to my bedroom for 3 years, as the cats brushed up against it entering and leaving.

KENNEL RATION 2024 acrylic, marker and brick on foam core on framed panel

SHOPPING LIST 2023 marker on granite slab mounted on framed panel

WHITE ROOM WITH BLACK CURTAINS 2024 marker, acrylic and spent air purifier pre filter on framed panel

THEY’RE VERY GOOD EATING 2023 acrylic on linen with sneakers and chicken wire over panel

STARRY NIGHT 2024 pine pollen and marker on plastic

LEND ME YOUR EAR PIZZA GROWERS 2023 acrylic and marker with dark velvet on panel

MADONNA 2024 acrylic pc and canvas strips on painting stretcher

SLEEPING WITH THE ENEMY 2024 painting stretchers with painting remnants, marker, colored pencil, plywood cutout with mold and algae on framed black gessoed panel

MEADOW LOCK 2024 acrylic, marker and oil pastel on foam core with lockset on framed panel

GINKGO BILOBA 2023 sumi ink with lab artifact and masking tape on framed panel

WARRIOR 2023 marker on moldy painted plywood cutouts. Based on the AeroMexico logo.

SQUAT HOLE (EVENT HORIZON) 2023 acrylic and marker on panel with shoes, hardwood cutouts and pvc tube elbow

ICE CREAM 2023 acrylic on linen with chicken wire and tennis balls over panel

EXCAVATION 2023 acrylic, marker and office chair armrests on framed panel

THE LAUGHING COW 2024 acrylic on panel with Laughing Cow cheese packages. This was originally painted in 2018 on a rectangle. I cut it into a circle and randomly distributed the offcuts to complete the missing parts to make the circle complete.

PSYCHO CAT DAD 2023 acrylic and marker on framed panel

DADDY MOMMY 2019 acrylic on linen

AC/DC: HIGHWAY TO HELL 2024 acrylic on hemp mat mounted onto painting stretcher with text written in marker

CRAZY EDDIE IS INSANE 2024 acrylic and marker on museum board on framed panel

MAN (recto) and WOMAN (verso) 2024 acrylic on hemp mat hung on stainless steel armature

VIEW FROM THE FRONT OF THE HOUSE 2024 acrylic on hemp mat stretched onto a stretcher. Painted outside on location, looking out over rice fields and the town of Gyeryong.

PAUL TORTUNATO: BROKEN ON THE WHEEL (AGAIN) 2024 acrylic and marker on crate panel with painted canvas cutout and wagon wheel

NO HARM WILL COME TO YOU 2023 marker on foam core mounted on panel with leaves. The panel had been lying face down in the yard for over a year, after which time leaves had become ‘fossilized’ into the foam board.

REPO JINDO 2024 acrylic and wooden joinery section on crate panel. Originally painted in 2022. Characteristic curly Jindo tail added in 2024. This piece is a precursor to all the works that came later using 3D objects.

IRON MAIDEN: SENJUTSU 2024 acrylic on crate panel with attached mold and algae covered plywood cutout

THE CREATION OF ADAM 2024 acrylic and marker on linen

EYE 2023 acrylic on panel with bass drum assembly ring and chain link fence

I WAS A TEENAGE SMARTPHONE 2023 acrylic, marker and cell phones on framed panel

I KEEP THINKING I SMELL CAT PISS 2024 marker on toned foam core on framed panel

SILENCE OF THE LAMBORGHINIS 2024 colored pencil on black foam core on framed panel

ELTON JOHN: SONGS FROM THE WEST COAST 2024 acrylic and marker on framed panel with paper wasp nest sections

THE HAIRDRESSER 2024 acrylic and marker on framed panel with pc part

JESUS WALKS INTO A BAR… 2023 acrylic, marker and thorns on stretched canvas mounted on framed panel

GIANT CAT 2024 marker and ball point pen on grey toned foam core on framed panel

I AIN’T HEAVY, I’M HIS BROTHER 2023 acrylic, marker and dried chili pepper on framed panel

HE SUFFERS FROM PULMONARY PSYCHOSIS 2024 colored pencil and full vacuum cleaner bag on black gessoed framed panel

KHRIST 2023 marker and thorns on framed panel

ENRICO CARUSO: OH SOLO MIO 2023 acrylic, marker, colored pencil and reflective traffic lane lenses on framed panel

DADDY’S HOME 2023 acrylic and marker on framed panel

DEEP PURPLE: FIREBALL 2024 acrylic, marker and plywood cutout on framed panel

UPSET 2023 marker and acrylic on destroyed poster on framed panel

APPETITE FOR SEDUCTION 2024 marker and guitar sections on office cubicle panel

WOW NICE SERVE 2024 acrylic, marker, tennis balls and racket on framed panel. The tennis racket was left out in the rain for a year and developed a ‘grin’ all on its own.

TROPHY 2021 acrylic on linen. The theme of looking through holes to another space has recurred throughout my artistic career.

A walkthrough of my recent solo exhibition.

Hello World

After a long absence from social media as I recovered from knee surgery and a near death medical incident, I am back and I am bad. I recently had a blockbuster solo exhibition here in Daejeon, South Korea at a huge gymnasium space converted into a gallery. I rented the gallery for 7 days, which included the install and take down days, so the show was effectively open to the public for only 5 days, i.e., 5 minutes. I took that as a challenge, to make a show that was museum quality and timeless, in about a minute. It was a show made for Instagram.

When the show did open, I was completely taken by surprise by the public response, in this, a very conservative city. I got rave responses by local artists, expat artist friends, general public, and even the gallery staff, who are usually indifferent to what’s being shown at the moment.

This is my fourth time exhibiting my work in this space, but the first as a solo exhibition. Through the cumulative experiences of my past shows, and from having seen other shows there, I acquired an intimate understanding of the space and what works and what does not.

I will discuss the show title and the content in posts to follow. Here are the announcement cards.

SOLAR LAP 60

I started this group of paintings on my 60th birthday, around the time of the beginning of the Russian invasion of Ukraine, 5 months ago. It is my 60th lap around our Sun. One piece, REPO JINDO, was started two years ago and is included in this set.

The new work is a reflection on life and mortality, and, among other things, my identifying with my cats and with animals in general. Solar Lap 60 is ongoing, and there will be more.

This work had been completed just before I am about to relocate to a better studio/house elsewhere in South Korea.

OPEN SEASON

January 7, 2022

Happy 2022 Everyone.

I now present my new set of 12 paintings titled OPEN SEASON. They were completed over the last 6 months, starting in August 2021.

As in most of my paintings there are layers of interwoven meaning and anecdote. The recurring themes of nature conservation, ethical treatment of animals and commentary on our digital society persist. ‘Open Season’ is a direct reference to trophy hunting. The eco vigilante in me will never go away. There is also the self referential aspect, just like in the last set, ‘Who Am I?’. OPEN SEASON became expansive in scope, encompassing the idea of time, as in the seasons, and the seasons of one’s lifespan. And for additional seasoning, I threw in some sociopolitical heat.

It is inevitable that whatever an artist paints, his or her personal circumstances and state of mind at that moment will find its way into the mix and dominate it.

One night in September 2021 I experienced extreme blood loss from a ruptured hemorrhoid and severe dehydration from diarrhea. I became so weak I collapsed to the floor and injured my face, requiring stitches on my upper lip. I went to the emergency room of the local hospital and was admitted there for 8 days. Before the real cause of the bleeding was detected and corrected with surgery, I required 6 blood transfusions.

Needless to say, the wonderful hospital staff, doctors and anonymous blood donors saved my life. I am grateful to still be alive.

The physical experience of intense rectal anguish and the unforgettable prospect of having almost died naturally found its way into the new work, which had already been in progress for months. I developed a new relationship and perspective on blood, my blood, as I lay around for hours watching the liquid organ slowly enter my depleted bloodstream, drop by drop, from a suspended blood unit.

The hospital downtime was like a mandatory vacation for me. It allowed me time to think about my life, mortality and where will I go from here once I am finished with the professorship. It also made me confront the question of what will happen to my estate, i.e., my life’s output of work, once I am gone. In that sense, OPEN SEASON, with 12 paintings, is my midlife calendar. You pick the painting and you match the month, its open to your interpretation.

A painting in progress is a condensed relationship. From the work’s inception on a blank piece of primed linen, with a few gestural strokes, the conversation begins. The failure rate is high at this stage, and if an image doesn’t work it may take many rewrites before I get any traction. There is also the test of time, which can take weeks to months. Usually at this point I do the mirror test, that is, look at the image backwards in a mirror. If it works backwards, it will also work forwards. When the relationship survives all the hurdles, I will run with it to the logical endpoint. As is my method, I work on the entire set of paintings simultaneously, so there are many conversations going on at the same time. When a piece is done, a sense of emptiness sets in. The relationship is over. The partner is no longer alive.

To view images in Sensurround please open them in a new tab. :]