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In 1982 I finally decided that I wanted to attempt an extended drawing sequence (comic book, graphic novel, multi-frame “fine art” piece, etc. - my notion of what to call it was ill defined). I had been for years coming into contact with the conventions of the form. I hated some and loved others; but more than that - I had been collecting my own idiosyncratic ideas of just how things should be done. What follows is a brief summary of where I found these ideas. I include these because I was self-consciously imitating these artists.

Me in my NW Portland apartment at the time I first conceived of this project, March 1982


zooming into the mirror. Northern Renaissance painting, anyone? Perhaps, this is what these paint brushes are about.

Summer, 1984. My drawing table (doubling as Jessica's and my kitchen table) is just behind me. I have just a few months to go to finish.
I am writing this in 2012. More than 30 years have passed since I set to work on this; but the hold that these various ancient seeming influences had on me remains quite palpable even now. I have not actively analyzed ANY of this stuff for decades; yet is is still very accessible for me as I write this. I am amazed at what a sponge I seemed to have been. In such a short period of time I seemed to have attempted to understand, assimilate, imitate, or even just out and out steal so much! The themes of these “influnces” seem pretty obvious in hindsight: creation, non-self obsessed and perceptive authorship, reproduction (in the biological as well as aesthetic sense), and even a kind of 2+2=5 transcendence over mediocrity and limitation. I am not sure that any of these qualities made it into the finished product of my work; but they were definitely in the air around me at the time - mine to notice, mine to appropriate, mine to misuse and to misunderstand in any way that I could say had inspired me to create this idiosyncratic grouping of 73 drawings.
When I started this project I was a sophomore in college. When I finished, I was 7 months post graduation. When I started I had yet to land my first restaurant job. When I finished I was well on my way in this McJob career. I had done so many things in this time that transformed who I was; yet I managed to stay with this project for the necessary years until it was done. Whatever else one can say about it, I regard it as testament to my own peculiar form of perseverance.

Published in 1978 by Dragon Dream, the company that used to produce Roger Dean graphics

Swamp Thing #3






Pound in 1919

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