"We are focusing on issues of public space and the right of individuals to interfere with our visual landscape as much as corporations and advertising. We hope to send a strong message in support of street art and the freedom of expression especially in these post 9/11 draconian times."

Well number one has to be the Pill-O. It's just a pillow in the shape of a pill.
Next, is the shopping cart loveseat, where you use bolt clippers and cut of shopping carts, then grind them smooth and weld them finished.
Third, is the mustache toupee totem pole, in which each mustache is the next man or woman's toupee.
That is all.

The Subculture of street art is significant because it is an embodiment of subversive content, which is rare in today's culture of consumerism and political amnesia. It functions as a way of "taking back the streets," when public spaces are increasingly privatized-through security cameras, Business Improvement Districts and profusion of Corporate maketing.

This form of art-which is not a commodity (there is no price tag), is ephemeral. and tends to address current political and cultural issues-is examined as a form of public expression, a form of media and a means of political and social protest.
What is arts role within the context of public space and urban culture? Is street art, art or vandalism? The Portland Graffiti Abatement Dept. takes over 1 million dollars annually to mute artists from expressing themselves. Don't you think that money could be used to help build/fix schools and parks etc.?
Instead, the money goes to buying grey paint. They use grey to cover stuff because it mutes the voice. But, in fact, many artists use these grey squares and rectangles to create what I like to call "Mute Monsters," "Buffalo's," or "Bufferin." (NEW ART)

Sticking it to the man if you will.




Note- The original manifesto was taking from the short film "To Be Seen." You should see it.

My wood spirits are crafted using stain markers (mineral "spirits"), paint pens and found wood. I prefer found wood because it gives the work character, while at the same time embracing the reduce, reuse, recycle credo.
Drawing is my key to the secret garden, my way down the rabbit hole, my looking glass. When I look at a piece of wood, I compare it to seeing a vast sky or landscape. The knots become the clouds and the grains, the plains. I compare stepping into this vastness to that of placing ones hands on a ouija board. The spirits are conjured and the once dead and forgotten piece of wood is given new life.
When I create a wood spirit, I draw from the inside out. Though I work quite deliberately, consciously employing both traditional and innovative techniques, my unconscious is the undisputed project manager.
The collaborative nature due to the knots already being in the wood frees my imagination and provides many opportunities for the wood spirits themselves to influence the finished product.
Recently I discovered some childhood drawings: simple, crayoned creatures that resonate deeply with my wood stain work. Inspired and invigorated by a renewed sense of wonder, and awed by the mystery of how creation occurs, I am still in search of whats yet to be uncovered.