ALL OVER COFFEE began as a deconstruction, then reassignment, of how words and images function in the newspaper comic. In 2004, the San Francisco Chronicle signed the series on as a regular feature, four days a week. The strip found immediate success, inspiring daily letters from critics and fans. After two years, wanting more time for each piece, I reduced the schedule to three days a week, then six months later, to one day a week. The series ran for twelve years (February 2004 - December 2015), for a total of 726 strips, and was collected into two books published by City Lights Press, All Over Coffee (2007), and Everything is its own reward (2011), withthird book, On to the Next Dream slated for release in April of 2016.

 

SMALL POTATOES first ran on April 1st, 2004 in the San Francisco Chronicle, as an April Fool’s response to the flurry of public reaction to All Over Coffee. Drawn in a simple, cartoony style, it featured two characters sitting at a cafe talking about how “No one wanted art in their newspaper,” only to be infiltrated by a band of Small Potatoes who were getting movie deals for watered-down work. I found the style and concept entertaining, and in the afterward of the first collection, All Over Coffee, mused that if I ever needed a break I might do Small Potatoes as a series. Shortly thereafter, I did just that, producing almost two hundred strips in three years. The Potatoes can now be found syndicated at GoComics.com.

 

CLOSE ENOUGH FOR THE ANGELS is a contemporary approach to the illustrated novel. A mystery and a love story, this full-length, plot and character driven novel includes over 100 drawings from Thailand, China, and Japan.

The book was initially released as a limited edition in 2016, in conjuntion with an exhibition at the Dryansky Gallery in San Francisco. A commercial print edition is scheduled for release September 2017.

Learn more about the book HERE.

 

ALBUM was intended to be a yearly artbook series. After working on two weeklies, I wondered how the frequency of production affected my creative decision making. Already, All Over Coffee was an enormous weekly endeavor, using up most of my time, so I decided to do an art-based series that would consist of one new and different body of work a year. The first collection, Album 01, was released in 2009, in conjunction with an exhibition at the Electric Works Gallery in San Francisco. The show consisted of over three dozen drawings of toys found in the closet of my childhood home, paired with my own aphorisms and passages of found text. Most drawings were large, up to four by five feet, colorful, and whimsical.

The reality of keeping up a yearly series, however, proved to be too much alongside my other work. Despite writing in Album 01 that the series was to be a ten year project with a book a year, the next Album was not completed until 2015. Album 02 was a collection of drawings, cartoons, and sketchbook work from over fifteen years, and released as an ebook.

 

MURALS
I've produced five large scale murals, two for the restaurant Tacolicious; a 14 x 40 foot installation featuring Dolores Park at the Valencia Strret shop in San Francisco, and a 14 x 40 foot installation featuring the Mexican town Atotonilco at their Palo Alto location. Two for Starbucks; a 5 x 65 foot installation at
their West Portal store in San Francisco, and an 8 x 8 foot installation at their Church and Market location. And one for Google Ventures, a 10 x 12 foot mural featuring a landscape from Joshua Tree National Park.

Each of these pieces was made specifically for the space where they were installed, and all with original drawings begun on site. The drawings were made to scale (the West Portal drawing being 13 feet long), photographed at high resolution, then printed and installed on vinyl.

As with all my work, these murals go beyond just the image. With the exception of the Joshua tree piece, each has an element of text involved. For example, in the Valencia Street Tacolicious mural, I knew that it would be visible from a distance as well as up close. So while the piece has the visual grandeur necessary for a large installation, it also has many hidden lines of text at eye-level, visible only to the patio diners sitting right up against the mural. This allows for both a public and private experience of the work. With the West Portal Starbucks piece I did something similar. The mural is installed ten feet off the ground and wraps almost entirely around the cafe, giving it a constant visual presence. By hiding text in the piece it created hidden eggs, allowing customers to always find something new.

 






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