Original artwork description:

A mass of dense organic forms, interlocking and seemingly moving from left to right across the picture plane, makes up the essence of this roughly rendered painterly composition. Three recognizable elements - that of an erect black penis, seemingly comfortably sheathed, in the lower middle of the painting, the body and head in profile of some kind of animal form riding the wave of the other forms to the far right edge, and a loosely assembled laughing face looking down with surprise and amusement from the middle of a mass of yellow pigment in the upper right - combine to conjure an unlikely narrative. Another not so subtle phallic form, this one white and leaning downward to the right from the left middle of the panel, applies visual thrust to the feeling of movement of the entire composition from left to right, as well as lending voice to the unmasked double entendre suggested in the title.

The rustic, imperfect application of nails, primer and wood filler on the surface and edges are intentional qualities meant to keep in concert with the informal tone inherent in art made on discarded "found wood," one that seemed appropriate for the casual, informal feel of this piece.

Influences, among others, include Max Beckmann, Edvard Munch, Bob Thompson, George McNeil, Richard Diebenkorn, David Park, Francesco Clemente, R.B. Kitaj and Willem de Kooning.

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Materials used:

Oil paint, gesso, and charcoal

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