Bluejay

Bluejay
9″ x 12″ on vintage music sheet
Gouache, India Ink and Micron Pen

The Issue of Accepting Prints as Works of Art
Printmaking is one of the rare artistic practices that is involved with updating specific terminology and developing guidelines so that artists will be able to use standardized procedures to identify their works. But why the necessity for a Code of ethics for Original Printmaking? The norms for authenticating prints that are currently practiced appeared gradually throughout history, and were sometimes initiated by artists who found various identification solutions to counteract forgers or indicate their techniques and the logic of their creative process. But it was more often publishers who imposed such norms so that prints would be recognized as works of art and would interest new collectors. Some applications have stimulated lively debate, and today, modifications that must be applied in answer to the evolution of the practice still provoke discussion among interested parties of differing opinions. It is important to understand that some artists will always be slightly in advance of the rules, and that their works will constantly pose the necessity for revising the code of ethics so that it can be applied to the most innovative work. In creative fields, freedom reigns and modes of experimentation are in no way circumscribed, which is why the most avant-garde works regularly break down the codes of identification and the borders between genres. A static code of ethics would ultimately not correspond to the practice of the art.

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Bird Illustrations

These are some illustrations I created for a tattoo design. The first one is a pencil sketch, followed by a pentel brush illustration, then a micron pen illustration, and finally micron and watercolor illustration.

Chronicle Article

“No Trespassing” signs and yellow barrier tape have gone up around the multicolored abandoned condo project at 11th and Baylor streets. Officially, the site is known as the Local to Global Outdoor Gallery Project, organized and curated by the HOPE campaign, a local nonprofit, with support from the property’s owners, Dick Clark Architecture and Castle Hill Partners. Until last Tuesday, however, the walls just west of Lamar were better known unofficially as a great place for artists to paste or paint to their heart’s content, rules be damned. It’s this clashing – aesthetically, artistically and spatially – that has led to the clampdown along Baylor Street and has revealed a larger change in Austin’s accepted aesthetic citywide.

End of the Road for Baylor Street Art Wall? (The Austin Chronicle)