Baker Artist Portfolios

Collaboration with Vicco von Voss and Sara Bakken

American Temples: late-night fast food in America. The prints from this collection combine my passions for architectural photography and night photography with the necessity of eating out, dictated by a hectic schedule. Captured by available light, I confront my subjects head-on. Captured up close, with very short lenses, the journalistic style captures the glaring light of stark reality. The restaurants share so much in common: red neon, sharp angles, and glowing interiors. The red neon evokes strong emotions of love, warmth and comfort.

I played with a bunch of bands in the Twentieth Century. My favorite was Bleach House, which I put together with Steve Shiltz (main guitarist), Dave Marchese (bass) and Chris Krippas (drums), and myself (songwriter, vocalist, and second guitarist), around the turn of the century in New York.  Bleach House (we were named after a laundromat in Brooklyn, NY, not a smilar-sounding B'more band) gigged a lot around lower Manhattan, and, at a couple points, went into a studio to lay down some tracks.

My exhibition, "Entrails & Leftovers", reflects my intrigue with nature’s elegant beauty and the changes that evolve within ecosystems where humans and animals clash and co-exist. From August 2011 through summer 2012, I lived alone on a small lake in North Central Wisconsin. This rural environment is primarily dedicated to farming, recreation and hunting, but also designated as wetlands and the home to abundant wildlife. In the span of this year, I spontaneously observed and documented human and animal interaction.

Night Moves is a conceptual book of poetry published by Publishing Genius Press in 2013

The book is a collection of thoughts and conversations about Bob Seger's classic song of the same name, all culled from YouTube.

2013 - 2016
A series of paintings based on  NASA sattelite images of solar flares, coronal mass ejections, auroras, black holes, and nebulas.

An outgrowth of previous examinations of disintegrating architectural models, the focus of this series continues to be on awkward interruptions of what might typically be considered the "right" picture. Each painting represents a single brief moment in which routine artifacts of one’s daily life are illuminated and transformed, activated by the momentary attention. Banal, domestic flaws—features that are typically avoided in the course of self-representation—are here given center stage.