Work samples
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The Time Has Come…, 2017The Time Has Come…, 2017, digital animation, 3 minutes
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Dropping Like Flies, 2018Dropping Like Flies, 2018 is an installation created for the Old Jail Art Center in Albany, TX. The piece is comprised of 5 acrylic paintings of the Mayan death god on metallic leather surrounded by over 1000 hand gold-leafed and rhinestoned flies. At the base of the installation are 6 ceramic skulls that are wearing heart-shaped sunglasses and wreaths of bridal/quincinera flowers.
About René
Baltimore City
René Treviño is a gay Mexican-American artist born in Kingsville, Texas. He received his BFA in Fine Arts from the School of Visual Arts (SVA) in 2003 and his MFA from the Maryland Institute College of Art (MICA) in 2005. He has exhibited at the Wadsworth Athenaeum in Hartford, CT; the Baltimore Museum of Art, Goliath Visual Space in Brooklyn, NY; White Box in New York, NY; the Delaware Center for Contemporary Art in Wilmington, DE; the Arlington Arts Center in Arlington, VA; and Pentimenti… more
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Walls of the Yucatán
Nationally, we have been having a lot of conversations about walls and borders. Who has access? Who gets to permeate these barriers? I made these paintings from a series of photographs I took while traveling to ancient Mayan sites throughout the Yucatán Peninsula. I was drawn to these walls from Chichen Itza, Coba and Tulum and to these handmade bricks and stones. In Mayan times these would have been covered over with Stucco. Because these sites are now ruins, the stucco has eroded away and reveals these amazing, very human surfaces. I love imagining the hands that made them and the way they might have looked at the height of the Mayan Empire.
These are meticulously hand painted with acrylic paint on Mylar, and cover the entire surface of the 48 x 36 inch picture plane.
These are meticulously hand painted with acrylic paint on Mylar, and cover the entire surface of the 48 x 36 inch picture plane.
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Walls of the Yucatán, 2019Hand-painted acrylic on Mylar, six panels at 48 x 36 inches each
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Walls of the Yucatán, Carmine Red, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Red Vermilion, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Sahara Yellow, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Veronese Green, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Turquoise Blue, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Ultramarine, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Carmine Red2019, detail
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Walls of the Yucatán, Sahara Yellow2019, detail
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Walls of the Yucatán, Ultramarine2019, detail
Gran Fury
My parents bought me a well-used 1987 Plymouth Gran Fury as a gift when I graduated from the School of Visual Art in 2003. They drove it from Lake Jackson, TX to Brooklyn to help me move. Then we drove it from New York to Baltimore. It was a boat of a car, 8 cylinders, lots of power; it was all red, including the interior. I drove it for almost 7 years. That car was a spectacle, it was loud, the gas mileage was terrible, but it gave me freedom and it never let me down. I recently found the chrome name plate I pried off the car before I donated it and I decided it would make a great painting...
A lot of police cruisers were Gran Fury's in the 1980's. The name of the car came from Greek mythology: the Furies, goddesses of vengeance. An art/activist collective also known as Gran Fury used a combination of bold graphic design, guerrilla dissemination tactics, and art institutional support to communicate the urgency of the AIDS epidemic in light of disastrous government and political inaction. They are probably best known for the SILENCE = DEATH graphic that came to define the AIDS/HIV activist movement in the 1980s and early 1990s.
This body of work was installed at the Monpelier Art Center in Laurel, MD in 2019 and combines paintings of Oreo cookies, the Gran Fury logo, star charts, Mayan walls and condoms.
A lot of police cruisers were Gran Fury's in the 1980's. The name of the car came from Greek mythology: the Furies, goddesses of vengeance. An art/activist collective also known as Gran Fury used a combination of bold graphic design, guerrilla dissemination tactics, and art institutional support to communicate the urgency of the AIDS epidemic in light of disastrous government and political inaction. They are probably best known for the SILENCE = DEATH graphic that came to define the AIDS/HIV activist movement in the 1980s and early 1990s.
This body of work was installed at the Monpelier Art Center in Laurel, MD in 2019 and combines paintings of Oreo cookies, the Gran Fury logo, star charts, Mayan walls and condoms.
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Gran Fury, installation view, 2019Installation view, Montpelier Art Center, Laurel, MD
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Gran Fury, 2019Hand-painted acrylic on Mylar, 60 x 145 inches
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Oreos, 2019Hand-painted acrylic on Mylar, six panels at 36 x 36 inches each
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Oreos, Blue, 2019Hand-painted acrylic on Mylar, 36 x 36 inches
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Star Field, Violet, 2019Hand-painted acrylic and rhinestones on Mylar, 36 x 48 inches
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Star Field, Ultramarine, 2019Hand-painted acrylic on Mylar, 20 x 25 inches
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Star Field, Egyptian Violet, 2019Hand-painted acrylic on Mylar, 20 x 25 inches
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Bareback Whore I, 2019Hand-painted acrylic on Mylar, 20 x 25 inches
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Bareback Whore II, 2019Hand-painted acrylic on Mylar, 20 x 25 inches
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Bareback Whore III, 2019Hand-painted acrylic on Mylar, 20 x 25 inches
Reclaiming the Constellations
This work plays on the subjectivity of the past, which is seen through the lens of those with the power to write it. Who gets to name the constellations? Why do they have names like Cassiopeia, Andromeda, Perseus, etc. when they had been named previously by other cultures? In renaming the constellations, I strip them of their Greek/Western mythos. The high key color or rainbow also brings to mind a variety of meanings—the calm after a storm, a celebration of bounty and variety, and most importantly, a symbol of pride for the LGTB community. As we become aware of our insignifigance in the universe, we can remember that the stars and constellations had names before the ones we know and remember and will have different names long after we are gone.
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Reclaiming the Constellations, installation view, 2019Hand-painted acrylic on panel, three panels at 48 x 48 x 2 inches each
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Reclaiming the Constellations, Super Trooper, 2019Hand-painted acrylic and rhinestones on panel, 48 x 48 x 2 inches
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Reclaiming the Constellations, Jaguar, 2019Hand-painted acrylic and rhinestones on panel, 48 x 48 x 2 inches
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Reclaiming the Constellations, Jaguar, 2019Detail
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Reclaiming the Constellations, Birds of Paradise, 2019Hand-painted acrylic and rhinestones on panel, 48 x 48 x 2 inches
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Reclaiming the Constellations, Gold Stars, 2019Hand-painted acrylic, rhinestones, sequins, beaded appliques and embroidered patches on panel, 18 x 18 x 1.5 inches
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Reclaiming the Constellations, Comets, 2019Hand-painted acrylic, rhinestones, sequins, beaded appliques and embroidered patches on panel, 18 x 18 x 1.5 inches
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Reclaiming the Constellations, Black Stars, 2019Hand-painted acrylic, rhinestones, sequins, beaded appliques and embroidered patches on panel, 18 x 18 x 1.5 inches
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Reclaiming the Constellations, Origins, 2016Hand-painted acrylic on panel, 48 x 48 x 2 inches
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Reclaiming the Constellations, Origins, 2016Detail
Dropping Like Flies
Dropping Like Flies, 2018 is an installation created for the Old Jail Art Center in Albany, TX. The piece is comprised of 5 acrylic paintings of the Mayan death god on metallic leather surrounded by over 1000 hand gold-leafed and rhinestoned flies. At the base of the installation are 6 ceramic skulls that are wearing heart-shaped sunglasses and wreaths of bridal/quincinera flowers.
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Dropping like Flies, 2018Painted representations of the Mayan Death God on metallic leather with rhinestones and sequins; plastic flies with gold leaf and rhinestones; ceramic gold skulls with artificial flowers, sunglasses, sequins and rhinestones, dimensions variable. Installation view of project installed at the Old Jail Art Center in Albany, TX in 2018.
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Dropping Like Flies, 2018Installation view of Dropping Like Flies, 2018 installed at the Old Jail Art Center in Albany, TX.
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Dropping Like Flies, 2018Detail view of Dropping Like Flies, 2018.
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Dropping Like Flies, 2018Each of the 1000+ flies were individually gold-leafed and rhinestoned.
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Dropping Like Flies, 2018Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
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Dropping Like Flies, 2018Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
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Dropping Like Flies, 2018Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
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Dropping Like Flies, 2018Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
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Dropping Like Flies, 2018Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
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Dropping Like Flies, 2018Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
CODEX
CODEX is an ongoing series of paintings that reference Mayan and other Mesoamerican art objects (ceramics, bas relief sculptures, codices, etc.) filtered through a contemporary queer aesthetic. As a community we are having a discussion about the importance of representation in contemporary art. In these paintings I insert queer narratives and ideas into these historical images.
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Magic, 2018Acrylic and embroidered patches on paper, 42 x 60 inches.
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Odalisque, 2018Acrylic and rhinestones on paper, 42 x 72 inches.
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Ballplayers in Love, 2018Acrylic on Mylar, 42 x 80 inches.
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Smiling Monster, 2018Acrylic and rhinestones on paper, 48 x 42 inches.
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Palm, 2018Acrylic on paper, 42 x 50 inches.
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Slavery, 2018Acrylic on paper 42 x 65 inches.
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Embrace I, 2018Acrylic and rhinestones on paper 42 x 42 inches.
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Embrace II, 2018Acrylic and rhinestones on paper, 42 x 42 inches.
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Fragment I, 2018Acrylic and embroidered flower on paper, 14 x 17 inches.
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Fragment II, 2018Acrylic and buttons on paper, 14 x 17 inches.
CODEX
CODEX is an ongoing series of paintings that reference Mayan and other Mesoamerican art objects (ceramics, bas relief sculptures, codices, etc.) filtered through a contemporary queer aesthetic. As a community we are having a discussion about the importance of representation in contemporary art. In these paintings I insert queer narratives and ideas into historical images.
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Sacrifice (Parade) I and II, 2017Acrylic, rhinestones, gold leaf, on paper, two panels, 48 x 96 inches each
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Sacrifice (Parade I), left panel, 2017Acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
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Sacrifice (Parade), left panel, detail, 2017Left panel detail, 2017, acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
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Sacrifice (Parade II), right panel, 2017Acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
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Codex, Day and Night, 2014Acrylic, gold leaf and rhinestones on Mylar, 40 x 30 inches each
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Maize Cross (Rainbow), 2014Hand-painted acrylic on Mylar, 11 x 14 inches
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Tree of Life, 2014Hand-painted acrylic on Mylar, 11 x 14 inches
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Pakal's Coming Out Story, 2014Hand-painted acrylic on Mylar, 11 x 14 inches
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Sacrifice (Not Napping, Tired from Picking Cotton and Making Art All Day), 2017Acrylic, rhinestones, gold metallic leather on paper, 96 x 48 inches
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Sacrifice (My Heart Will Go On), 2017Acrylic, rhinestones, feathers, on paper, 96 x 48 inches
Onward
Through my research, I have learned that some ancient Mexican codices were drawn and written on animal skins. Inspired by this, I am creating a series of paintings on metallic hides. Painting on the animal skins recalls the act of making the original codices; I use bright metallic gold, silver and bronze skins to represent the natural treasures and artifacts that were stolen from the indigenous people during the Spanish conquest.
Additionally I am making short animations. The goal with the animations is to make the paintings move and to give them a new kind of context, but also to give the work a life outside traditional gallery spaces.
Additionally I am making short animations. The goal with the animations is to make the paintings move and to give them a new kind of context, but also to give the work a life outside traditional gallery spaces.
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Death and Zero, 2017Acrylic, rhinestones, and embroidered flowers on metallic leather, 36 x 24 inches.
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The Roses of Palenque, 2017Acrylic, rhinestones, and sequined floral patches on metallic leather, 45 x 36 inches.
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Dorado (Oreo), 2017Rhinestones on gold metallic leather, 24 x 24 inches
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Dorado (Calendario), 2017Rhinestones on gold metallic leather, 24 x 24 inches
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Dorado (Maria Cookie), 2017Rhinestones on gold metallic leather, 24 x 24 inches.
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Rainbow Jaguar, 2017Acrylic and rhinestones on metallic leather, 22 x 22 inches
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The Time Has Come…, 2017The Time Has Come…, 2017, digital animation, 3 minutes
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Sacrifice, 2017Digital animation, 30 seconds
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An Eagle Can Fly Over Your Wall, 2016Digital Animation, 20 seconds
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Day/Night, 2017Digital animation, 43 seconds
Renaming the Constellations
This work plays on the subjectivity of the past, which is seen through the lens of those with the power to write it. Who gets to name the constellations? Why do they have names like Cassiopeia, Andromeda, Perseus, etc. when they had been named previously by other cultures? In renaming the constellations, I strip them of their Greek/Western mythos. The high key color or rainbow also brings to mind a variety of meanings—the calm after a storm, a celebration of bounty and variety, and most importantly, a symbol of pride for the LGTB community.
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Renaming the Constellations, 2016Hand-painted acrylic and rhinestones on Mylar, six panels at 36 x 36 inches each
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Renaming the Constellations, Red, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Orange, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Yellow, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Green, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Blue, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Violet, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Reclaiming the Constellations (Lotería), 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Reclaiming the Constellations (Lotería), 2016Hand-painted acrylic and rhinestones on Mylar, fifteen panels at 18 x 18 inches each
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Reclaiming the Constellations (Lotería), 2016Hand-painted acrylic and rhinestones on Mylar, fifteen panels at 18 x 18 inches each
Axial Precessions
The Axial Precession works are a new series of paintings of round forms, including celestial bodies, cultural and art historical objects and patterns, star charts and astrological maps. There is something reassuring and meditative in these repeated mandala forms. The viewer is simultaneously very small in relation to space and the cosmos and omniscient.
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Axial Precessions, 2012-2014Hand-painted acrylic on Mylar, twenty-one works at 36 x 36 inches each
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Axial Precessions, Han Dynasty Mirror, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Moon, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Tonatiuh, 2013Hand-painted acrylic on Mylar, 36 x 36 inches.
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Axial Precessions, Iron Bowl, 2013Hand-painted acrylic on Mylar, 36 x 36 inches.
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Axial Precessions, Pájaro, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Aztec Skull, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Souvenir, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Louvre Lion2013, hand-painted acrylic on Mylar, 36 x 36 inches.
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Axial Precessions, Star Chart (Cobalt), 2013Hand-painted acrylic on Mylar, 36 x 36 inches
Saguaro Warriors
A series of life-sized graphite on paper drawings that represent my idea of a hypothetical army that could come together to solve the world's problems.
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Saguaro Warriors, 2006-2007Graphite on paper, installation view
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Saguaro Warriors, 2007Graphite on paper, detail
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Saguaro Warriors, Buffalo Bill, 2007Graphite on paper, 87 x 42 inches
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Saguaro Warriors, Sitting Bull, 2007Graphite on paper, 76 x 42 inches
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Saguaro Warriors, Daniel Craig as James Bond, 2006Graphite on paper, 82 x 42 inches
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Saguaro Warriors, Taft, 2007Graphite on paper, 85 x 42 inches
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Saguaro Warriors, Neptune, 2007Graphite on paper, 80 x 42 inches
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Saguaro Warriors, Chief, 2007Graphite on paper, 78 x 42 inches
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Saguaro Warriors, Dolce & Gabbana, 2007Graphite on paper, 87 x 42 inches
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Saguaro Warriors, General Grant and a Giant Saguaro, 2007Graphite on paper, 42 x 87 inches