Snoozing In My Big Black Boot Day 1
2016 | Acrylic and varnish on paper | 40” x 60”
Snoozing In My Big Black Boot Day 2
2016 | Acrylic and varnish on paper | 40” x 60”
Snoozing In My Big Black Boot Day 3
2016 | Acrylic and varnish on paper | 40” x 60”
Raise the Roof – Faux Zebra
2015 | Acrylic and varnish on paper | 40” x 60”
Raise the Roof – Snow Faux Leopard
2015 | Acrylic and varnish on paper | 40” x 60”
Psycho Cyclone
2015 | Acrylic, enamel and varnish on canvas | 84” x 64”
Surfing with Franz and Willem (The Wave)
2015 | Acrylic and varnish on canvas | 3 panels each 64” x 84”
Super Fly
2009 | Acrylic enamel varnish and plastic cups on wood | 55” x 118”
Schroeder and Franklin
2009 | Acrylic enamel varnish and plastic cups on wood | 64” x 84”
Hollywood Hair
1999-2000 | Acrylic and varnish on canvas | 96” x 64”
Espresso Lane
1999-2000 | Acrylic and varnish on canvas | 64” x 72”
Snoring Coconut
2001-2009 | Acrylic and varnish on wood panel | 96” x 48”
Bonsoir In Bora Bora, Sunday
2000 | Acrylic and varnish on wood panel | 48” x 48”
Given The Dog A Bone
2009 | Acrylic and varnish on canvas | 84” x 128”
Birds Eyeview
2000 | Acrylic and varnish on canvas | 74” x 128”
Does This Make Me Look Fat
2009 | Acrylic and varnish on canvas | 64” x 102”
My Crib
2013 | Acrylic and varnish on canvas | 84” x 128”
My Homie Ace
2013 | Acrylic and varnish on canvas | 84” x 128”
West Coast Disco Dolly
1999-2000 | Acrylic and varnish on canvas | 64” x 72”
ARTIST STATEMENT
Raw
BY TOM EVERHART
Caution, High Surf Advisory
How raw and fearlessly fearful we are when we first step into the dangerous waters just off the coast of our rules. Is it possibly the raw fine mist of our academia that precedes the rolling waves of cultivated influences will allow us to be receptive to new and other ways of seeing? And, what are the raw elements that make us so available to a new movement of illusion, thought, and mood. What will help us stay receptive when that new way of seeing comes with an unexpected narrative that interrupts our play of consciousness? Can we depend on our raw emotions to overcome the fears within our raw nerves when we find ourselves face to face with this unexpected swelling 50 ft. narrative wave that appears overwhelmingly unfamiliar?
Well, delete the concern. Because, the beauty in a state of being raw, is that it pushes us to be visually active and allows us to see the familiar in the unfamiliar. Riding it’s wake makes us accessible from all vantage points to being changed as it becomes the under toe for our creations.
So, is raw hard to see or is raw black and white?