Original artwork description:

The dominant visual element in this tumultuously laden oil paint narrative first appears to be a large royal blue head locked in the upper left quadrant, left profile possibly peering out of the picture plane, but more likely peeking down over its ample left shoulder toward the goings-on in the composition's lower center portion.
Here the eye is directed toward, and lands on, another large, disembodied head. This one, formed in generous swathes of frantically applied white pigment, is turned radically upside down in a dramatic visage of startled disorientation, an upward turned, apparently attached green fingered hand supporting this reading. Contributing to this player's assumed persona of frenetic anxiety is a third ample head, this one in orange-dominant hues with a sinister expression and a horn-laden dome all conspiring to create a sense of claustrophobic doom for our sympathetic central figure. The final organic form, this one in dark reds and purples, and lacking clear contextual orientation (another head? a claw-like hand for the blue figure?) forms either the final barrier to escape for our seemingly trapped protagonist, or more hopefully, the vehicle for escape, like some unexpected but welcome friendly spaceship. Though the narrative to this point is far from embodying a heaven-like ambiance, visually or in mood, the hope is that some hidden connection will assert itself between the red of that final formal entity in the painting's lower left corner with the strikingly red hue of the exasperated figure's grimacing mouth; and that this connection will generate the escape and entry into the red heaven we are pulling for.

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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