Think I Might Be Sinking 2007 | Acrylic and varnish on canvas | 64” x 102” — **Think I Might Be Sinking**
2007 | Acrylic and varnish on canvas | 64” x 102”

The Last Supper (No More Scones For Roy) 1999 | Acrylic and varnish on canvas | 84” x 192” — **The Last Supper (No More Scones For Roy)**
1999 | Acrylic and varnish on canvas | 84” x 192”

Nobody Barks In L.A. 1999 | Acrylic and varnish on canvas | 96” x 128” — **Nobody Barks In L.A.**
1999 | Acrylic and varnish on canvas | 96” x 128”

A Guy In A Sharkskin Suit Wearing A Rhinestone Hat By Twilight 1999 | Acrylic and varnish on canvas | 64” x 102” — **A Guy In A Sharkskin Suit Wearing A Rhinestone Hat By Twilight**
1999 | Acrylic and varnish on canvas | 64” x 102”

Attack Of The Conference Call 2003 | Acrylic and varnish on canvas | 84” x 192” — **Attack Of The Conference Call**
2003 | Acrylic and varnish on canvas | 84” x 192”

Rage Rover 1999 | Acrylic and varnish on canvas | 64” x 128” — **Rage Rover**
1999 | Acrylic and varnish on canvas | 64” x 128”

Puff Doggy Dog 2000 | Acrylic and varnish on canvas | 84” x 128” — **Puff Doggy Dog**
2000 | Acrylic and varnish on canvas | 84” x 128”

Back Velvet Scream 2001 | Acrylic and varnish on canvas | 96” x 96” — **Back Velvet Scream**
2001 | Acrylic and varnish on canvas | 96” x 96”

Hollywood Hound Dog 1999 | Acrylic and varnish on canvas | 96” x 128” — **Hollywood Hound Dog**
1999 | Acrylic and varnish on canvas | 96” x 128”

Screaming Low-Blood Sugar Blonde 1999 | Acrylic and varnish on canvas | 96” x 128” — **Screaming Low-Blood Sugar Blonde**
1999 | Acrylic and varnish on canvas | 96” x 128”

Stalking In L.A. 2003 | Acrylic and varnish on canvas | 64” x 128” — **Stalking In L.A.**
2003 | Acrylic and varnish on canvas | 64” x 128”

The Tear 2000 | Acrylic and varnish on canvas | 84” x 84” — **The Tear**
2000 | Acrylic and varnish on canvas | 84” x 84”

Under The Influence

Why is it that we are only aware of a profound influence through its retrospection, or, at best, during its evolution? In other words, it seems to be only with time, looking back, that one can clearly see what has taken place and to what affect it has had. Just imagine how helpful it would be if, along the motorways of one’s consciousness, there were signs that read, “Slow – Immense Influence Ahead” or “Yield To Oncoming Influence”. I do realize that influence will not knock upon the door to give notice of its arrival, but a doorbell would be nice – maybe chimes. Is part of its charm derived from unexpectedness? How do we explain to the children, eager for knowledge, that it will require all of their intuitive abilities to recognize it? If not, it may go undiscovered and undeveloped, unless and until we choose to focus on its importance. Maybe influence is so difficult to see at first, because its vitality has swept us along with irresistible momentum. Without a doubt, this is a very special time, and in its current is an inspirational wave that carries one period to an end as another period magically begins.

So, how does it happen?