A bit about the process and myself . . .
The central theme of the work; to vividly express my observations on Urban Life, Antiquity and World Events. Often times, several perspectives of the same event result from this effort. I strive to develop an emotional colour, if you will. Sensing the emotional architecture in each work as a concept develops, is tantamount to the perceptual light energies or lack thereof.
Equally crucial is the energy of improvisation. Too much preparation results in a taciturn proficiency common to an abundance of structure and predetermination. For the greater part, these are characteristics germane to architecture and portrait painting. Additionally, I have never employed the use of a digital paintbrush or drawing tablet to create the imagery in this collection.
Both exploration and experimentation are the qualities I most desire in a work but not necessarily. As with any artistic enterprise, about eighty percent of the work represents a general approach. The ninety percentile will at times, deviate in fine degrees of technique or structure. It is that final percentage which defines the good from the exceptional in any endeavor, be it artistic, literary or common plumbing!
Photography, optical manipulation and enhanced treatments to the shading and hues are a large part of the method. My goal is to remain true to the subject, while embellishing the ambiance and visualizations. After working as an Executive Producer / Director in Public Television for almost a decade (WKTV), it has become second nature to remain objective and detached when amplifying a singular moment in time.
Personally speaking, it is virtually impossible to view life limited to three dimensions. My universe as a child was chaotic and somewhat unstable. To deal with those conditions, I constructed a psychological platform wherein my impressions were much in the third person. It would appear that my early childhood experience has become a positive construct in the creation of visual imagery and the composition of microtonal music.
I wish to thank all of you for your continued support of the arts and the struggle to conserve our valuable Wetlands and Natural Wildlife. Without these resources, life as we know it would be dramatically different and infinitely less pleasant.
Life in continuum . . . Maubidea
*Abstract Automatism or (automatism abstrait du moment) a sculpting technique as it applies to digital painting.
'Du moment”, (French translation: of the moment), an homage to the French cooking method, a la minute. A style of preparation where foods are cooked to order and served immediately. As a Professional Restaurant and Banquet Chef for over twenty-five years, it seemed an appropriate play on words to describe the approach.
There are several references that identify this style of painting. Most notable are, Automatic Drawing and Surrealist Automatism. Abstract Automatism is defined by several factors. There are no sketches from which to build, completing the effort within the time constraints of a fleeting inspiration and the absence of touchups. It applies primarily to works created in the digital domain.
As with any jazz solo, there is a given amount of time in which artists can express themselves. When that time has elapsed and the energy of the creative impulse has exhausted, the work is complete. I have spent my adult life balancing three careers and multiple artistic ventures concomitantly. Although Music, the Culinary Arts and Broadcast Television remain dear to my heart, my current focus is to 'visually interpret' world events and environmental issues.
*Automatic Drawing was pioneered by André Masson in the 1920’s.
Broadcast Credits include . . . Composer - Video Installation - Performance Concepts
Saharawi (multimedia), has been showcased with the American Festival of Microtonal Music and the Angela Caponigro Dance Ensemble. WKTV’s cameras were a mainstay at CBGB in NYC (documented the urban music trends of that period).
Regular Broadcasts . . . Writer / Director - Videographer - Sound Design - Concepts
WKTV, The Italian Curse of Judy Vendetta, Ron Sherman’s Public Radio and On The Waves, “Live” from the Peppermint Lounge, Nina Hagan (at the Ritz), “After Hours” with Michelle Monroe and Velvet Sippy Gulp, Pyramid Boy’s in Stiletto Heels (Pyramid Club nyc), Yomo Toro (Western Beef Performance series, Metro Access), The Steve Weisberg Jazz Orchestra (Knitting Factory nyc), Harry V’Derci’s “Night Train” from CBGB, Eminent Sound & Videoworks (nyc), Sunday's Hardcore Matinee (nyc), the Artist Communication Network (nyc), Rajeckas and Intraub Movement Theater, The Movin’ It Show with Mimi and Henrietta (credits: Tina Kronis – Mummenchantz, Judy Canestrelli – Circus Performer / Hair & Makeup / Puppet Design and Ronaldo Vermicelli – Puppet Master & Voices).
Synopsis: The weekly adventures of a NYC mime and her cantankerous bag-lady companion to name just a few.
Promotion - Videowork and Graphics . . .
The American Festival of Microtonal Music, Live Skull, Ritual Tension, the Sick Fucks, ACN “In Concert” series of Live Performances, Abraham Rodriguez and Urgent Fury, ABC No Rio, Sick of It All, Performance Space, JC and the Microtones, Public Enemy, Garibaldi's Love Machine, Agnostic Front, World Premier composition by Lamonte Young, Regan Youth, Slayer, Fish, Blue Blue Blue, L7’s (Fast and Furious, the club mix video), Knitting Factory, Jello Biafra’s (Love American Death Squad Style, video), Shaun Gorman (composer), Middle Collegiate Church Theater, Don Greene (poet), NWA, the Dead Kennedy’s, Pyramid Club, Tragic Mulatto, Ice Cube, Ladysmith Black Mambazo, Butt Hole Surfers, Morbid Angel, the Beatnigs, Clifton Chenier, Morphine Sally, Green Revan, Godflesh, Alice Donut, Exodus, Joe Satriani, Freaks, Jon Catler, David First, Gunter Hampel Jazz Orchestra, Keshavan Maslak - Loved by Millions, Skip La Plante and many more.
Note: WKTV does not represent a Broadcast Station. As the Executive Director of Eminent Sound and Videoworks (a not-for-profit corporation), WKTV was, a biweekly broadcast viewed in New York City, San Francisco and Public Television channels in Great Britain. It became a prominent voice for emerging forms of music, dance and performance art throughout the US and abroad.
During the mid 1980’s – 1994, the progressive arts were starving for visibility. There were no government grants to support alternative visions and those seeking a voice within the established communities. The purpose of the broadcasts was to increase public awareness to these promising talents in the hope audience attendance and product sales would increase.
In many instances, performance capacity doubled and tripled after viewing the show. The entire production (tech crew, equipment, video editing, computer graphics, tapes etc.), was offered at no cost to the artists.
Please note . . . The signature which appears on all the original artwork in this collection, will not be present on the Limited Edition giclee prints. The Maubidea signature is an overlay intended for the purpose of Internet identification. It will however, be included on all prints in the Open Edition Poster Art series of original artwork and photographs.
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